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 Barbados and from Accra.
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 1967 to 1979.
I'm losing my edge.
To all the kids in London and Winnipeg.
I'm losing my edge to the art-school Paris 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 The Walker Brothers to the disco kids.
I played it at the Crocodile.
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 Fugs. All the underground hits.
All Wighnomy Brothers & Robag Wruhme tracks. I heard you have a vinyl of every Junior Murvin record on German import.
I heard that you have a white label of every seminal dance 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins 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?
The Dead C,
Jerry Gold Smith,
B.T. Express,
Kas Product,
Agent Orange,
Selector Dub Narcotic,
Neil Young & Crazy Horse,
Quando Quango,
Glambeats Corp.,
Major Organ And The Adding Machine,
London Community Gospel Choir,
The Martian,
China Crisis,
David Axelrod,
Don Cherry,
Aswad,
Bill Near,
Scratch Acid,
Wings,
The Slackers,
La Düsseldorf,
EPMD,
Donny Hathaway,
Big Daddy Kane,
Motorama,
Slave,
Arthur Verocai,
Matthew Bourne,
Nik Kershaw,
It's A Beautiful Day,
Jawbox,
Aaron Thompson,
The Techniques,
Röyhkä ja Rättö ja Lehtisalo,
Ash Ra Tempel,
Ohio Players,
Eli Mardock,
Albert Ayler,
Scott Walker,
Quadrant,
Sparks,
Byron Stingily,
Dr. Dre and Snoop Doggy Dog,
Jimmy McGriff,
Marshall Jefferson,
Depeche Mode,
the Germs,
Yazoo,
Warsaw,
Toni Rubio,
The Mojo Men,
The Invisible,
Fifty Foot Hose,
Joensuu 1685,
Organ,
Erasure,
Colin Newman,
Rites of Spring,
Avey Tare's Slasher Flicks,
The Searchers,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.