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 Canada and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Philadelphia.
I'm losing my edge to the art-school Mexico City 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 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 Animal Collective to the electroclash kids.
I played it at the Troubador.
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 Brothers Johnson. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Wally Richardson 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Liaisons Dangereuses,
Kings Of Tomorrow,
Joe Finger,
Rod Modell,
L. Decosne,
Bluetip,
Smog,
The Blackbyrds,
Minutemen,
Barclay James Harvest,
Joyce Sims,
The Dead C,
Kevin Saunderson,
Graham Central Station,
Gong,
Sun City Girls,
Pole,
Lou Reed & John Cale,
Neil Young & Crazy Horse,
Gang Starr,
Stockholm Monsters,
Flash Fearless,
Mission of Burma,
Oppenheimer Analysis,
Maleditus Sound,
The Remains,
Lafayette Afro Rock Band,
Boogie Down Productions,
Swans,
Lebanon Hanover,
Tres Demented,
Mars,
Gil Scott-Heron and Jamie xx,
The Modern Lovers,
Sonic Youth,
Tropical Tobacco,
Dawn Penn,
Blake Baxter,
Brand Nubian,
Malaria!,
The Mummies,
Dual Sessions,
Tim Buckley,
Big Daddy Kane,
Grauzone,
Charles Mingus,
The Cowsills,
Sad Lovers and Giants,
Sugar Minott,
Glambeats Corp.,
The Sisters of Mercy,
Don Cherry,
Spoonie Gee,
Audionom,
Monks,
X-102,
The Associates,
The Mojo Men,
Wire,
Eric Copeland,
The Human League,
Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam.
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.