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 Malaysia and from Columbus.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Columbus and Madrid.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the organ 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 Cabaret Voltaire to the techno 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 Sight & Sound. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Skriet record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Dead C record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
MDC,
Roy Ayers Ubiquity,
The Last Poets,
Thompson Twins,
The Move,
Clear Light,
Echo & the Bunnymen,
Gil Scott Heron,
Section 25,
The Beau Brummels,
Heavy D & The Boyz,
Monolake,
Brick,
Bobby Byrd,
Colin Newman,
48th St. Collective,
Lizzy Mercier Descloux,
Sonny Sharrock,
Joe Smooth,
The Remains,
Groovy Waters,
Tim Buckley,
Con Funk Shun,
Delon & Dalcan,
Rhythim Is Rhythim,
Massinfluence,
Desert Stars,
Fugazi,
Louis and Bebe Barron,
Tropical Tobacco,
Chris Corsano,
John Holt,
Röyhkä ja Rättö ja Lehtisalo,
James White and The Blacks,
Main Source,
Gong,
the Soft Cell,
Rowland S Howard / Lydia Lunch,
Freddie Wadling,
Sunsets and Hearts,
The Gladiators,
The Men They Couldn't Hang,
Vaughan Mason & Crew,
Cybotron,
Dark Day,
Agitation Free,
Crash Course in Science,
U.S. Maple,
Monks,
Cecil Taylor,
Public Enemy,
Interpol,
Dual Sessions,
Mr. Review,
Suicide,
Roxette,
KRS-One,
EPMD,
The Sonics,
Supertramp,
Derrick May,
Lalo Schifrin, Lalo Schifrin, Lalo Schifrin, Lalo Schifrin.
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.