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 Micronesia and from London.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Mexico City.
I'm losing my edge to the art-school Salvador 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Television to the electroclash 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 Larry & the Blue Notes. All the underground hits.
All UT tracks. I heard you have a vinyl of every Little Man record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Cameo,
the Soft Cell,
Ohio Players,
Television,
Cymande,
Drive Like Jehu,
Gian Franco Pienzio,
Pharaoh Sanders and the Fire Engines,
It's A Beautiful Day,
Chris Corsano,
Sun City Girls,
Sugar Minott,
Bill Wells,
Slave,
Camron Feat. Jay Z And Juelz,
Yellowson,
Lou Reed,
Quantec,
Kevin Saunderson,
Albert Ayler,
Vainqueur,
Soft Cell,
Eric B and Rakim,
The Divine Comedy,
10cc,
Thee Headcoats,
The United States of America,
The Invisible,
F. McDonald,
Y Pants,
The Monochrome Set,
John Holt,
Soul II Soul,
Ponytail,
Aswad,
Lee Hazlewood,
The J.B.'s,
The Move,
Cecil Taylor,
Maleditus Sound,
Hashim,
Warsaw,
The Sonics,
Radiohead,
The Pop Group,
The Velvet Underground,
The Leaves,
Lafayette Afro Rock Band,
L. Decosne,
Can,
Country Teasers,
Avey Tare's Slasher Flicks,
DJ Style,
Gang Green,
Judy Mowatt,
the Fania All-Stars,
Sandy B,
The Last Poets,
U.S. Maple,
Michelle Simonal,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.