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 Ireland and from Cairo.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Seoul.
I'm losing my edge to the art-school Beijing 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 marimba sounds with much patience.
I was there when David Bowie 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 The Busters to the rock kids.
I played it at Cafe Wha.
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 Blancmange. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every Kas Product record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Kevin Saunderson,
Arthur Verocai,
MC5,
Harpers Bizarre,
Youth Brigade,
Notorious Big And Bone Thugs,
Richard Hell and the Voidoids,
Zapp,
Dark Day,
Sandy B,
The Mummies,
Pussy Galore,
OOIOO,
Liaisons Dangereuses,
Lakeside,
L. Decosne,
The Raincoats,
Jeff Mills,
Bluetip,
Ohio Players,
Altered Images,
Dual Sessions,
The Flesh Eaters,
Little Man,
Deutsch Amerikanische Freundschaft,
Lebanon Hanover,
Delta 5,
Sonny Sharrock,
Lucky Dragons,
Guru Guru,
Be Bop Deluxe,
Reuben Wilson,
Ultravox,
Brass Construction,
Sonic Youth,
Gil Scott-Heron & Brian Jackson,
The Slackers,
The Cramps,
The Sonics,
Chrome,
Amazonics,
The Move,
Laurel Aitken,
A Certain Ratio,
Eyeless In Gaza,
Roy Ayers Ubiquity,
Terror Squad Feat. Camron,
Scion,
The Blues Magoos,
Public Image Ltd.,
Manfred Mann's Earth Band,
June of 44,
Wolf Eyes,
Soft Machine,
Main Source,
Bobby Hutcherson,
Echo & the Bunnymen,
Joy Division,
Chris Corsano,
Siglo XX,
Schoolly D,
Josef K, Josef K, Josef K, Josef K.
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.