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 Turkmenistan and from Seoul.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Bremen and Spokane.
I'm losing my edge to the art-school Shanghai 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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Notorious BIG live in Amsterdam 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 Bush Tetras. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every Alison Limerick record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Massinfluence,
Kool Moe Dee,
Camberwell Now,
Robert Görl,
Joyce Sims,
The Pop Group,
Leonard Cohen,
Bob Dylan,
Swell Maps,
Franke,
Pole,
Young Marble Giants,
Chrome,
UT,
The New Christs,
Outsiders,
Larry & the Blue Notes,
Scrapy,
Prince Buster,
Letta Mbulu,
Glambeats Corp.,
It's A Beautiful Day,
The Electric Prunes,
The Beau Brummels,
Gil Scott-Heron & Brian Jackson,
Tim Buckley,
Barry Ungar,
Traffic Nightmare,
Bronski Beat,
Flipper,
Johnny Clarke,
Scratch Acid,
Icehouse,
Pharoah Sanders,
Sonic Youth,
Byron Stingily,
Negative Approach,
Chris & Cosey,
Beasts of Bourbon,
Bad Manners,
Fort Wilson Riot,
The Busters,
The Sonics,
Colin Newman,
Mission of Burma,
Eli Mardock,
Ossler,
Peter Gordon & Love of Life Orchestra,
kango's stein massive,
The Count Five,
The Gap Band,
Cheater Slicks,
Boredoms,
Ponytail,
Frankie Knuckles,
Arab on Radar,
Johnny Osbourne,
Carl Craig,
Marine Girls,
Jeru the Damaja,
U.S. Maple,
Rhythim Is Rhythim,
Echo & the Bunnymen,
Smog, Smog, Smog, Smog.
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.