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 Nauru and from Bologna.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1977.
I'm losing my edge.
To all the kids in Paris and Paris.
I'm losing my edge to the art-school Glasgow 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 rhodes 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 Super Lover Cee & Casanova Rud to the disco kids.
I played it at Trash.
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 Bang On A Can. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Rhythm & Sound 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 a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pussy Galore,
Rakim,
Byron Stingily,
Gregory Isaacs,
Eurythmics,
Buzzcocks,
Alison Limerick,
The Gap Band,
Steve Hackett,
JFA,
KRS-One,
John Foxx,
Audionom,
Masters at Work,
Ice-T,
Babytalk,
Eve St. Jones,
This Heat,
The Tremeloes,
Guru Guru,
James White and The Blacks,
Scientists,
Vainqueur,
Be Bop Deluxe,
Shoche,
The Toasters,
Wolf Eyes,
The Remains,
Gabor Szabo,
Trumans Water,
The Blues Magoos,
Rapeman,
Porter Ricks,
Los Fastidios,
Motorama,
Schoolly D,
X-101,
The Knickerbockers,
Swans,
Erasure,
48th St. Collective,
Sound Behaviour,
Bobby Byrd,
Theoretical Girls,
Skaos,
Gary Puckett & The Union Gap,
New Age Steppers,
Ornette Coleman,
John Coltrane,
Camron Feat. Memphis Bleek And Beenie Seigel,
Excepter,
Ohio Players,
R.M.O.,
Echo & the Bunnymen,
Scratch Acid,
David Axelrod,
Scrapy,
Toni Rubio,
Sex Pistols,
Country Teasers,
Ossler,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.