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 Guinea and from Shanghai.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Lille and Bologna.
I'm losing my edge to the art-school Hong Kong 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 Tom Verlaine 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 Pulsallama to the dance 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 Black Pus. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every In Retrospect record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Echo & the Bunnymen,
Marmalade,
Q and Not U,
Faraquet,
Yusef Lateef,
Boz Scaggs,
Alton Ellis,
Magma,
The Doors,
John Foxx,
Tubeway Army,
Ronan,
A Flock of Seagulls,
Smog,
Suburban Knight,
Frankie Knuckles,
The Slackers,
Ultravox,
Soft Machine,
Ohio Players,
Gichy Dan,
Godley & Creme,
The Toasters,
Rakim,
Scan 7,
Monks,
Rosa Yemen,
These Immortal Souls,
Skaos,
Theoretical Girls,
Teenage Jesus and the Jerks,
Depeche Mode,
Rapeman,
Amazonics,
Stereo Dub,
The Cowsills,
Harmonia,
Wolf Eyes,
Basic Channel,
Pussy Galore,
Negative Approach,
Moby Grape,
Harpers Bizarre,
Newcleus,
The Move,
Massinfluence,
the Fania All-Stars,
The United States of America,
FM Einheit,
Dead Boys,
New Order,
Q65,
The Shadows of Knight,
The Saints,
Nirvana,
Nils Olav,
Jacques Brel,
Sad Lovers and Giants,
Kevin Saunderson,
Kenny Larkin,
The Invisible,
Blake Baxter,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.