Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Kosovo and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1962 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Copenhagen.
I'm losing my edge to the art-school Manchester kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Mandrill to the punk kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Nick Cave & The Bad Seeds. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mighty Diamonds,
Tim Buckley,
OOIOO,
Curtis Mayfield,
KRS-One,
K-Klass,
Ossler,
Visage,
The Neon Judgement,
The Sound,
Kango’s Stein Massive,
The Alarm Clocks,
The Seeds,
Ultravox,
Morten Harket,
Derrick May,
Roy Ayers Ubiquity,
DJ Style,
The Trojans,
Bill Wells,
Brothers Johnson,
James Chance & The Contortions,
Country Joe & The Fish,
Los Fastidios,
Ralphi Rosario,
Gregory Isaacs,
Rapeman,
Black Flag,
Television Personalities,
Easy Going,
Terry Callier,
Johnny Clarke,
Rekid,
Danielle Patucci,
Idris Muhammad,
The Standells,
Gastr Del Sol,
LL Cool J,
The Move,
The Victims,
Josef K,
The Martian,
MDC,
Hashim,
Surgeon,
Goldenarms,
Thompson Twins,
The Gories,
Marmalade,
the Soft Cell,
PIL,
X-102,
Kenny Larkin,
Average White Band,
Ituana,
Soul Sonic Force,
Marshall Jefferson,
The Sonics,
The Happenings,
Pole,
Delon & Dalcan,
Robert Wyatt,
Lee Hazlewood,
Liliput, Liliput, Liliput, Liliput.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.