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 Moldova and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Tehran.
I'm losing my edge to the art-school New York 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 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 Organ to the grime kids.
I played it at the Spitz.
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 Standells. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every Be Bop Deluxe 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
Nico,
The Divine Comedy,
Erasure,
48th St. Collective,
Underground Resistance,
A Flock of Seagulls,
Lightning Bolt,
Black Pus,
Lou Reed,
Lalo Schifrin,
The American Breed,
Soulsonic Force,
Groovy Waters,
The Black Dice,
Duran Duran,
Animal Collective,
Desert Stars,
Terror Squad Feat. Camron,
Mary Jane Girls,
Boredoms,
Model 500,
Barrington Levy,
Ajijia Myrayebe,
Eli Mardock,
Parry Music,
Crispian St. Peters,
Radio Birdman,
Boz Scaggs,
Lonnie Liston Smith,
Andrew Ashong & Theo Parrish,
Sparks,
John Cale,
The Fire Engines,
Kool Moe Dee,
Cheater Slicks,
Blake Baxter,
Pussy Galore,
Rekid,
Rowland S Howard / Lydia Lunch,
Orchestral Manoeuvres in the Dark,
The Knickerbockers,
Harmonia,
Ultra Naté,
John Foxx,
Gastr Del Sol,
Sun City Girls,
Lee Hazlewood,
a-ha,
Ossler,
Soft Cell,
The Sound,
The Searchers,
Josef K,
It's A Beautiful Day,
Roxy Music,
The Fugs,
The Velvet Underground,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.