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 Brazil and from Madrid.
But I was there.
I was there in 1973.
I was there at the first Television 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 1965 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Edmonton.
I'm losing my edge to the art-school Mexico City 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Louis and Bebe Barron to the disco kids.
I played it at the 40 Watt.
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 Maurizio. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal rock 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 sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doobie Brothers,
Chrome,
Charles Mingus,
Nils Olav,
Sound Behaviour,
Sly & The Family Stone,
Blake Baxter,
a-ha,
Beasts of Bourbon,
The Searchers,
The United States of America,
Visage,
Masters at Work,
B.T. Express,
Fatback Band,
Blossom Toes,
Lindisfarne,
Ultimate Spinach,
Terror Squad Feat. Camron,
Amon Düül II,
Television,
Crispy Ambulance,
Malaria!,
Bobby Byrd,
De La Soul & Jungle Brothers,
Fifty Foot Hose,
Traffic Nightmare,
Fat Boys,
The Remains,
Bauhaus,
Cheater Slicks,
Pharaoh Sanders and the Fire Engines,
Suicide,
Minnie Riperton,
Henry Cow,
Pantytec,
The Selecter,
Easy Going,
Ohio Players,
Vaughan Mason & Crew,
Ronan,
Bootsy's Rubber Band,
Minutemen,
Boredoms,
Aural Exciters,
The Birthday Party,
Pantaleimon,
Amon Düül,
Derrick Morgan,
Judy Mowatt,
Faust,
Rapeman,
Ossler,
Vladislav Delay,
Janne Schatter,
The Red Krayola,
Man Eating Sloth,
Echospace,
June of 44,
Angels of Light & Akron/Family,
Theoretical Girls,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.