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 Lebanon and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Lyon and Bremen.
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 at the first Suicide practice in a loft in New York.
I was working on the theremin 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 The Sound to the electroclash 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 K-Klass. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal techno 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Theoretical Girls record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doobie Brothers,
The Index,
Gichy Dan,
Jesper Dahlbäck,
Boredoms,
Easy Going,
Mars,
Technova,
Warsaw,
Derrick May,
Clear Light,
Brick,
Joensuu 1685,
Fugazi,
The Vogues,
R.M.O.,
Basic Channel,
AZ,
Charles Mingus,
Barbara Tucker,
Funkadelic,
Lyres,
Drexciya,
The Zeros,
The Slackers,
John Cale,
Howard Jones,
Darondo,
Ornette Coleman,
Heaven 17,
Matthew Halsall,
Rotary Connection,
New Age Steppers,
10cc,
Skriet,
the Soft Cell,
The Dave Clark Five,
Minnie Riperton,
Lucky Dragons,
48th St. Collective,
Shoche,
Y Pants,
Erasure,
Main Source,
Aloha Tigers,
Ohio Players,
Roy Ayers,
Barclay James Harvest,
Deutsch Amerikanische Freundschaft,
Ultramagnetic MC's,
EPMD,
Kevin Saunderson,
Kurtis Blow,
Pierre Henry,
Lou Christie,
Crime,
Bill Wells,
The Young Rascals,
the Association,
Ossler, Ossler, Ossler, Ossler.
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.