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 Niger and from London.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1973.
I'm losing my edge.
To all the kids in Paris and Madrid.
I'm losing my edge to the art-school Portland 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 arpeggiator 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 Aaron Thompson to the rap kids.
I played it at the Hacienda.
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 Residents. All the underground hits.
All Crooked Eye tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal funk 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 güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Young Rascals record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Justin Hinds & The Dominoes,
The Golliwogs,
Pharaoh Sanders and the Fire Engines,
Eurythmics,
Art Ensemble Of Chicago,
Sound Behaviour,
Peter & Gordon,
Mo-Dettes,
The Sisters of Mercy,
New Order,
Rapeman,
Fad Gadget,
Electric Light Orchestra,
Babytalk,
Sad Lovers and Giants,
Swans,
the Swans,
Bobby Womack,
Notorious BIG live in Amsterdam,
Boredoms,
Louis and Bebe Barron,
The Dave Clark Five,
Barbara Tucker,
Grey Daturas,
Patti Smith,
The Searchers,
Lou Reed & John Cale,
Technova,
The Count Five,
Zapp,
The Blackbyrds,
Peter and Kerry,
Ice-T,
Jesper Dahlbäck,
Electric Prunes,
The Pretty Things,
Excepter,
Negative Approach,
Lonnie Liston Smith,
T.S.O.L.,
Groovy Waters,
Television,
The Skatalites,
Kool G Rap & DJ Polo,
Gerry Rafferty,
Popol Vuh,
Colin Newman,
Hashim,
Beasts of Bourbon,
The Jesus and Mary Chain,
Archie Shepp,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jeff Mills,
Hot Snakes,
Bang On A Can,
The West Coast Pop Art Experimental Band,
Joyce Sims,
The Fugs,
Youth Brigade,
Kevin Saunderson,
The Mighty Diamonds,
Bauhaus,
Easy Going, Easy Going, Easy Going, Easy Going.
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.