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 Peru and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1979.
I'm losing my edge.
To all the kids in Houston and Portland.
I'm losing my edge to the art-school Glasgow 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 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 Flesh Eaters to the grunge kids.
I played it at the Crocodile.
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 Patti Smith. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Deadbeat 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
Louis and Bebe Barron,
Lee Hazlewood,
The Red Krayola,
La Düsseldorf,
Peter and Kerry,
Oblivians,
Brothers Johnson,
Drive Like Jehu,
Mo-Dettes,
Marmalade,
Sight & Sound,
The Gladiators,
Justin Hinds & The Dominoes,
Blake Baxter,
Lightning Bolt,
Lyres,
Pulsallama,
Sunsets and Hearts,
Andrew Ashong & Theo Parrish,
The Last Poets,
Stiv Bators,
Tom Boy,
Pantytec,
Morten Harket,
the Germs,
The Monks,
The Cure,
Soft Machine,
The Detroit Cobras,
Chrome,
Freddie Wadling,
8 Eyed Spy,
Brass Construction,
The Electric Prunes,
Rotary Connection,
The Black Dice,
The Invisible,
Black Bananas,
Tim Buckley,
Lou Reed,
Gong,
Scan 7,
Electric Prunes,
David Bowie,
Pete Rock & C.L. Smooth,
Livin' Joy,
Cal Tjader,
A Certain Ratio,
Franke,
Mission of Burma,
Radio Birdman,
The Slits,
The Shadows of Knight,
Connie Case,
Derrick May,
In Retrospect,
K-Klass,
Subhumans,
Robert Hood,
EPMD,
The Modern Lovers,
48th St. Collective,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.