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 Cameroon and from Mexico City.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1964 to 1973.
I'm losing my edge.
To all the kids in Tokyo and New York.
I'm losing my edge to the art-school London 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 oboe 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 Stereo Dub to the rock 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 London Community Gospel Choir. All the underground hits.
All The Cowsills tracks. I heard you have a vinyl of every Patti Smith 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Surgeon,
The Black Dice,
New Order,
the Bar-Kays,
James Chance & The Contortions,
DJ Sneak,
Rufus Thomas,
Pierre Henry,
Soft Machine,
Ajijia Myrayebe,
T. Rex,
Archie Shepp,
Urselle,
Curtis Mayfield,
Jandek,
Average White Band,
Skriet,
Kerri Chandler,
The Young Rascals,
Easy Going,
The Cure,
Main Source,
Brick,
Andrew Hill,
The Misunderstood,
Super Lover Cee & Casanova Rud,
The Smoke,
Rahsaan Roland Kirk,
Dawn Penn,
Marcia Griffiths,
The American Breed,
EPMD,
Pharaoh Sanders and the Fire Engines,
Terry Callier,
Rekid,
The Barracudas,
Niagra,
The Doobie Brothers,
Deutsch Amerikanische Freundschaft,
Manfred Mann's Earth Band,
The Electric Prunes,
The Tremeloes,
The Fall,
Porter Ricks,
Bizarre Inc.,
Nik Kershaw,
The Human League,
Goldenarms,
Toni Rubio,
Scan 7,
Gregory Isaacs,
Mr. Review,
The Associates,
Wings,
Marc Almond,
the Slits,
Barrington Levy,
Lyres,
The Cowsills,
Jesper Dahlback,
Suburban Knight,
Audionom, Audionom, Audionom, Audionom.
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.