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 Lesotho and from Johannesburg.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Paris and Milan.
I'm losing my edge to the art-school Columbus 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord 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 Camberwell Now to the disco 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 Associates. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every DNA record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Adolescents,
Skaos,
The Men They Couldn't Hang,
Stereo Dub,
Animal Collective,
The Neon Judgement,
Moby Grape,
Bauhaus,
Lucky Dragons,
Connie Case,
Royal Trux,
JFA,
It's A Beautiful Day,
Spandau Ballet,
Half Japanese,
Strawberry Alarm Clock,
Stetsasonic,
The Birthday Party,
a-ha,
Rowland S Howard / Lydia Lunch,
The Move,
Von Mondo,
The Gladiators,
The Young Rascals,
The Red Krayola,
Todd Rundgren,
Monks,
Aloha Tigers,
Shuggie Otis,
The Busters,
Marc Romboy vs. Booka Shade,
the Sonics,
Kings Of Tomorrow,
Crispy Ambulance,
Colin Newman,
Gong,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Youth Brigade,
Excepter,
Barbara Tucker,
Electric Light Orchestra,
The Blackbyrds,
The United States of America,
The Motions,
Goldenarms,
The Mojo Men,
Pierre Henry,
Thee Headcoats,
Audionom,
Magazine,
Wings,
Scientists,
Blancmange,
48th St. Collective,
Siouxsie and the Banshees,
Visionaries,LMNO, T- Love & Iriscience,
Ten City,
Jesper Dahlbäck,
Joe Smooth,
The Slackers, The Slackers, The Slackers, The Slackers.
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.