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 Russia and from Hong Kong.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Winnipeg and Mexico City.
I'm losing my edge to the art-school Seoul 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 theremin 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 Bobby Byrd to the techno 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 Soft Cell. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Lou Christie record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Wake record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
Darondo,
Frankie Knuckles,
Vladislav Delay,
the Soft Cell,
The Happenings,
Albert Ayler,
Rufus Thomas,
Swans,
Mantronix,
Newcleus,
Traffic Nightmare,
Quadrant,
Hasil Adkins,
Justin Hinds & The Dominoes,
Alice Coltrane,
Sarah Menescal,
D'Angelo,
The Detroit Cobras,
Japan,
Maleditus Sound,
Jandek,
Althea and Donna,
Charles Mingus,
The Smoke,
Fluxion,
CMW,
Sex Pistols,
Dorothy Ashby,
Lightning Bolt,
Maurizio,
Grey Daturas,
The Star Department,
The Golliwogs,
Ultravox,
Matthew Bourne,
Cybotron,
Amon Düül II,
Vainqueur,
Derrick Morgan,
Tommy Roe,
Mr. Review,
Infiniti,
The Motions,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sight & Sound,
Gil Scott-Heron & Brian Jackson,
Monks,
Suicide,
AZ,
The Modern Lovers,
The Stooges,
The Blues Magoos,
The Pretty Things,
Rahsaan Roland Kirk,
Alison Limerick,
Y Pants,
Kas Product,
Minutemen,
Amon Düül,
Max Romeo,
Stereo Dub,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.