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 Hungary and from Glasgow.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1972.
I'm losing my edge.
To all the kids in Glasgow and Manchester.
I'm losing my edge to the art-school Spokane 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 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 X-101 to the rap 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 Peter and Kerry. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every 10cc record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Skriet record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
The Flesh Eaters,
Bang On A Can,
Organ,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pylon,
Barry Ungar,
Robert Görl,
kango's stein massive,
Lungfish,
Art Ensemble Of Chicago,
ABC,
It's A Beautiful Day,
Hasil Adkins,
DJ Sneak,
T.S.O.L.,
A Certain Ratio,
Jacques Brel,
Andrew Hill,
The Toasters,
James Chance & The Contortions,
Jerry's Kids,
John Lydon,
Subhumans,
Ludus,
Thinking Fellers Union Local 282,
Jerry Gold Smith,
Popol Vuh,
The Alarm Clocks,
Radio Birdman,
a-ha,
Massinfluence,
Crispian St. Peters,
Eyeless In Gaza,
the Soft Cell,
Warren Ellis,
Procol Harum,
Outsiders,
Jeff Lynne,
The West Coast Pop Art Experimental Band,
The Smiths,
The Gun Club,
Nico,
Malaria!,
Roy Ayers Ubiquity,
Bang on a Can All-Stars,
Ultravox,
Rekid,
Underground Resistance,
Maurizio,
Marine Girls,
Silicon Teens,
Avey Tare,
Blancmange,
Gary Puckett & The Union Gap,
Althea and Donna,
Pierre Henry,
Lyres,
Black Flag,
Blake Baxter,
The Kinks,
The Detroit Cobras,
Ponytail, Ponytail, Ponytail, Ponytail.
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.