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 Algeria and from Woodstock.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Houston and Johannesburg.
I'm losing my edge to the art-school Manchester 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Maleditus Sound to the techno 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 X-102. All the underground hits.
All Bang on a Can All-Stars tracks. I heard you have a vinyl of every Basic Channel record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Second Layer,
Half Japanese,
Byron Stingily,
Lafayette Afro Rock Band,
Lungfish,
Radio Birdman,
Electric Prunes,
Man Eating Sloth,
Grandmaster Flash and the Furious Five,
The Litter,
Swell Maps,
Scott Walker + Sunn O))),
Babytalk,
L. Decosne,
Josef K,
Derrick Morgan,
Jimmy McGriff,
Jacob Miller,
Scion,
The Standells,
Neil Young & Crazy Horse,
Japan,
Traffic Nightmare,
Sam Rivers,
the Bar-Kays,
Adolescents,
Eve St. Jones,
Rapeman,
Faust,
Agitation Free,
Pylon,
Popol Vuh,
Robert Hood,
Ultravox,
Bush Tetras,
The Index,
Bob Dylan,
The Happenings,
Jacques Brel,
Echospace,
Mandrill,
Saccharine Trust,
Lou Reed & Metallica,
Swans,
Eric B and Rakim,
Electric Light Orchestra,
Mary Jane Girls,
Red Lorry Yellow Lorry,
Lalo Schifrin,
Barrington Levy,
The Dave Clark Five,
World's Most,
Nick Cave & The Bad Seeds,
48th St. Collective,
Jeff Lynne,
Au Pairs,
Public Image Ltd.,
Motorama,
Deadbeat,
Bang on a Can All-Stars,
B.T. Express,
KRS-One,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.