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 Mongolia and from Lyon.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Cairo and Manila.
I'm losing my edge to the art-school Tehran 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 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 Marc Almond to the disco kids.
I played it at CBGB's.
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 Ornette Coleman. All the underground hits.
All Ludus tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Flesh Eaters record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nirvana,
The Detroit Cobras,
The Sisters of Mercy,
Das Ding,
Vladislav Delay,
Soft Machine,
Sparks,
Negative Approach,
The Pretty Things,
Technova,
Freddie Wadling,
Siglo XX,
Jesper Dahlbäck,
Marvin Gaye,
Davy DMX,
Funkadelic,
Hot Snakes,
the Human League,
Amon Düül,
Letta Mbulu,
The Divine Comedy,
Ten City,
Dorothy Ashby,
Roy Ayers,
OOIOO,
Sam Rivers,
Camron Feat. Memphis Bleek And Beenie Seigel,
LL Cool J,
Pantytec,
Von Mondo,
Marcia Griffiths,
The Wake,
The Young Rascals,
Wire,
Deepchord,
Neil Young & Crazy Horse,
Crime,
Sällskapet,
The Litter,
Adolescents,
Eric Dolphy,
Aaron Thompson,
Boredoms,
Dawn Penn,
Magazine,
The Pop Group,
The Sound,
Yellowson,
Don Cherry,
The Vogues,
The Flesh Eaters,
Tears for Fears,
Q and Not U,
Albert Ayler,
Buzzcocks,
Siouxsie and the Banshees,
Crooked Eye,
Lyres,
Flamin' Groovies,
Joey Negro,
Lou Christie,
Hardrive,
Derrick May, Derrick May, Derrick May, Derrick May.
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.