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 Azerbaijan and from Seoul.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1976.
I'm losing my edge.
To all the kids in Bologna and Sao Paulo.
I'm losing my edge to the art-school Sao Paulo 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 Main Source to the grunge kids.
I played it at Cafe Wha.
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 Parry Music. All the underground hits.
All The Cowsills tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal funk 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy record.
I hear that you and your band have sold your rhodes and bought an organ.
I hear that you and your band have sold your organ and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
Aaron Thompson,
The Divine Comedy,
Boredoms,
FM Einheit,
Lightning Bolt,
Joensuu 1685,
Lou Christie,
Tears for Fears,
Pere Ubu,
Audionom,
Y Pants,
Delta 5,
Pagans,
Vladislav Delay,
PIL,
Terrestrial Tones,
H. Thieme,
Technova,
Lou Reed & Metallica,
Sight & Sound,
Stockholm Monsters,
Simply Red,
Scott Walker,
Crispian St. Peters,
48th St. Collective,
The Associates,
Matthew Bourne,
Crooked Eye,
Nirvana,
Josef K,
Piero Umiliani,
The Angels of Light,
Desert Stars,
Severed Heads,
Masters at Work,
Gil Scott Heron,
The Invisible,
Throbbing Gristle,
Electric Prunes,
Quadrant,
Cameo,
Kerri Chandler,
Soul II Soul,
Yusef Lateef,
Grandmaster Flash,
Lee Hazlewood,
The Fire Engines,
X-101,
Television,
T.S.O.L.,
Jacob Miller,
The American Breed,
Scion,
Roxette,
Jesper Dahlbäck,
Radiopuhelimet,
Tomorrow,
Danielle Patucci,
Byron Stingily,
Black Moon,
Model 500, Model 500, Model 500, Model 500.
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.