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 Japan and from Copenhagen.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1974.
I'm losing my edge.
To all the kids in Portland and London.
I'm losing my edge to the art-school Taipei 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 spring reverb 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 Slave to the dance kids.
I played it at CBGB's.
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 Harry Pussy. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Aural Exciters 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 '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Walker Brothers,
Oneida,
Sight & Sound,
Brothers Johnson,
Liliput,
Excepter,
Faust,
The Slackers,
Stetsasonic,
Nation of Ulysses,
Livin' Joy,
Bobby Womack,
Black Moon,
Tears for Fears,
Ash Ra Tempel,
Anthony Braxton,
Pussy Galore,
Kango’s Stein Massive,
Rosa Yemen,
The New Christs,
The Smiths,
The Last Poets,
Leonard Cohen,
Simply Red,
Alton Ellis,
ABC,
The Alarm Clocks,
Sonny Sharrock,
Jacob Miller,
Radiohead,
The Gun Club,
Subhumans,
Rod Modell,
Sly & The Family Stone,
Peter Gordon & Love of Life Orchestra,
Bronski Beat,
Faraquet,
James Chance & The Contortions,
Yazoo,
Crash Course in Science,
June of 44,
Gichy Dan,
The Misunderstood,
Quadrant,
Minnie Riperton,
Neil Young & Crazy Horse,
Neil Young,
Man Parrish,
The Fire Engines,
Adolescents,
Amon Düül II,
Fad Gadget,
John Holt,
The Selecter,
Drexciya,
Erykah Badu,
Arcadia,
Art Ensemble Of Chicago,
The Peanut Butter Conspiracy,
Mo-Dettes,
Peter and Kerry,
Chris Corsano,
Cameo,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.