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 Bolivia and from Mumbai.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Bologna.
I'm losing my edge to the art-school Taipei 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Slick Rick to the techno 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 Television. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every The Moody Blues 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Outsiders record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Thee Headcoats,
Howard Jones,
Yusef Lateef,
Fluxion,
The Pretty Things,
The Moody Blues,
Aaron Thompson,
World's Most,
Moss Icon,
Model 500,
Yaz,
Rosa Yemen,
Pole,
Qualms,
Audionom,
Dual Sessions,
Bauhaus,
Marine Girls,
The Monks,
8 Eyed Spy,
Drexciya,
The Seeds,
The Skatalites,
Wally Richardson,
Orchestral Manoeuvres in the Dark,
K-Klass,
The Gun Club,
The Neon Judgement,
U.S. Maple,
Aural Exciters,
Brothers Johnson,
The United States of America,
Frankie Knuckles,
The Slits,
The Techniques,
John Foxx,
Glambeats Corp.,
The Electric Prunes,
Essential Logic,
Barclay James Harvest,
kango's stein massive,
Grauzone,
The Star Department,
Brass Construction,
Boogie Down Productions,
Flash Fearless,
Sällskapet,
The Mummies,
MDC,
Basic Channel,
Subhumans,
Ash Ra Tempel,
Warsaw,
Whodini,
Ultimate Spinach,
The Slackers,
Sex Pistols,
Bad Manners,
E-Dancer,
Justin Hinds & The Dominoes,
Lee Hazlewood,
Cameo,
Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap.
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.