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 Qatar and from Jakarta.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Columbus.
I'm losing my edge to the art-school Bremen 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Star Department to the rap kids.
I played it at the Spitz.
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 Warsaw. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Sex Pistols 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 '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Marmalade,
Monolake,
Jacob Miller,
Scott Walker,
Roxette,
The Velvet Underground,
Terry Callier,
Beasts of Bourbon,
Robert Wyatt,
The Pop Group,
Strawberry Alarm Clock,
Depeche Mode,
Bobby Womack,
Stiv Bators,
Lyres,
Circle Jerks,
Funky Four + One,
Drexciya,
Bobbi Humphrey,
Talk Talk,
T. Rex,
Fifty Foot Hose,
the Bar-Kays,
Vaughan Mason & Crew,
Joe Smooth,
Minutemen,
Todd Terry,
Eurythmics,
Supertramp,
Panda Bear,
the Fania All-Stars,
Technova,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Arthur Verocai,
Livin' Joy,
Loose Ends,
Reuben Wilson,
The Beau Brummels,
Sexual Harrassment,
Audionom,
Boredoms,
Metal Thangz,
Bootsy Collins,
John Coltrane,
Sandy B,
The Associates,
Procol Harum,
Charles Mingus,
Ronnie Foster,
The Neon Judgement,
Althea and Donna,
Rowland S Howard / Lydia Lunch,
The Standells,
Lungfish,
The Doobie Brothers,
Gang Starr,
Piero Umiliani,
The Sonics,
Dual Sessions,
Glenn Branca,
Visage,
John Holt, John Holt, John Holt, John Holt.
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.