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 Guyana and from Columbus.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Taipei and Woodstock.
I'm losing my edge to the art-school Lagos 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 The Trojans to the rap kids.
I played it at Trash.
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 Alison Limerick. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Young Marble Giants 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
Rufus Thomas,
Terrestrial Tones,
Lightning Bolt,
Sly & The Family Stone,
The Star Department,
Spoonie Gee,
Stereo Dub,
Fear,
Röyhkä ja Rättö ja Lehtisalo,
Drive Like Jehu,
Bang On A Can,
Arcadia,
Bauhaus,
Alice Coltrane,
Ultramagnetic MC's,
the Human League,
Jesper Dahlbäck,
Kool Moe Dee,
Fat Boys,
Boz Scaggs,
A Certain Ratio,
The Barracudas,
Boogie Down Productions,
Marmalade,
Wings,
Curtis Mayfield,
Scan 7,
Black Flag,
Robert Wyatt,
The Young Rascals,
X-102,
Colin Newman,
Skaos,
Andrew Ashong & Theo Parrish,
A Flock of Seagulls,
Pulsallama,
Flash Fearless,
Avey Tare & Kría Brekkan,
Unwound,
Graham Central Station,
Unrelated Segments,
Theoretical Girls,
Gil Scott Heron,
John Cale,
Suburban Knight,
The Cramps,
The Gap Band,
David Axelrod,
Mars,
Jeff Mills,
Lou Reed & Metallica,
Y Pants,
Lalo Schifrin,
Neil Young,
Derrick May,
The Moleskins,
Nas,
Todd Terry,
Heaven 17,
Jerry's Kids,
Underground Resistance,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.