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 Portugal and from Toronto.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Portland.
I'm losing my edge to the art-school New York 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 clarinet 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 DJ Style to the punk kids.
I played it at the Roxy.
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 The Names. All the underground hits.
All Underground Resistance 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 dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Vainqueur record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Colin Newman,
Dark Day,
Procol Harum,
Section 25,
the Human League,
Mr. Review,
Jacques Brel,
Kurtis Blow,
Drexciya,
Strawberry Alarm Clock,
The Fortunes,
Sam Rivers,
Altered Images,
Wire,
Dave Gahan,
Derrick May,
JFA,
Toni Rubio,
Letta Mbulu,
The Seeds,
FM Einheit,
the Slits,
Manfred Mann's Earth Band,
The Alarm Clocks,
Avey Tare,
Matthew Halsall,
Gil Scott Heron,
Fear,
Pulsallama,
Bang on a Can All-Stars,
Minny Pops,
Television,
Grandmaster Flash,
Eric Dolphy,
Zero Boys,
James Chance & The Contortions,
Eyeless In Gaza,
The Flesh Eaters,
Darondo,
ABC,
Be Bop Deluxe,
Rosa Yemen,
Radiohead,
Big Daddy Kane,
The Mighty Diamonds,
Thee Headcoats,
The Misunderstood,
Michelle Simonal,
Althea and Donna,
Ultravox,
Traffic Nightmare,
Yellowson,
Sun Ra Arkestra,
Bauhaus,
The United States of America,
Tommy Roe,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.