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 Bosnia Herzegovina and from Jakarta.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Tehran and Hong Kong.
I'm losing my edge to the art-school Copenhagen 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Duran Duran to the techno 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 Junior Murvin. All the underground hits.
All Dark Day tracks. I heard you have a vinyl of every T. Rex 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 '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Byrd record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
MC5,
the Slits,
Circle Jerks,
New Order,
Harry Pussy,
Tears for Fears,
Essential Logic,
Second Layer,
Lakeside,
Aural Exciters,
U.S. Maple,
Banda Bassotti,
The Offenders,
Yaz,
Public Image Ltd.,
Oblivians,
China Crisis,
Oppenheimer Analysis,
H. Thieme,
The Walker Brothers,
Brothers Johnson,
Henry Cow,
Marcia Griffiths,
Massinfluence,
Marmalade,
Morten Harket,
Arthur Verocai,
Strawberry Alarm Clock,
The Fugs,
Oneida,
Slick Rick,
Gastr Del Sol,
Patti Smith,
Minutemen,
Surgeon,
Lou Reed,
Toni Rubio,
Soft Machine,
The Evens,
Grauzone,
Kas Product,
Suburban Knight,
Jerry's Kids,
X-102,
Sister Nancy,
Thompson Twins,
Bobby Hutcherson,
Saccharine Trust,
Jacques Brel,
Shuggie Otis,
Anthony Braxton,
Aaron Thompson,
Pet Shop Boys,
Ash Ra Tempel,
Angry Samoans,
The Divine Comedy,
Duran Duran,
Vainqueur,
Flamin' Groovies,
Graham Central Station,
Rapeman,
Sixth Finger,
The Kinks, The Kinks, The Kinks, The Kinks.
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.