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 Slovenia and from Lille.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Madrid and Tokyo.
I'm losing my edge to the art-school Houston 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 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 Heavy D & The Boyz to the dance kids.
I played it at the Astoria.
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 Nico. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every John Cale record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Tremeloes record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Heavy D & The Boyz,
Popol Vuh,
Wings,
Gil Scott Heron,
Strawberry Alarm Clock,
The Techniques,
Darondo,
Nik Kershaw,
Notorious BIG live in Amsterdam,
The Pop Group,
Joe Smooth,
Audionom,
Magazine,
Rod Modell,
The Trojans,
The Royal Family And The Poor,
Rotary Connection,
Jandek,
H. Thieme,
Prince Buster,
Grandmaster Flash,
The Raincoats,
Theoretical Girls,
The Human League,
Main Source,
Rakim,
The Fire Engines,
10cc,
Susan Cadogan,
Brand Nubian,
Niagra,
KRS-One,
Tom Boy,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Crime,
Oppenheimer Analysis,
FM Einheit,
Swans,
Tears for Fears,
Traffic Nightmare,
Angry Samoans,
Kaleidoscope,
Smog,
Marcia Griffiths,
Bob Dylan,
Robert Wyatt,
Fela Kuti,
Jesper Dahlbäck,
Louis and Bebe Barron,
Sun City Girls,
Public Image Ltd.,
Mark Hollis,
Bang on a Can All-Stars,
Rhythm & Sound,
Public Enemy,
MDC,
Joe Finger,
Aural Exciters,
Matthew Halsall,
Ultramagnetic MC's,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.