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 Paraguay and from Johannesburg.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Lagos.
I'm losing my edge to the art-school Salvador 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the theremin sounds with much patience.
I was there when Nile Rodgers 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 Schoolly D to the electroclash 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 Blake Baxter. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Don Cherry record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Yazoo record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
The Cowsills,
Eddi Front,
Monks,
Skarface,
Man Parrish,
Suicide,
Second Layer,
Yazoo,
Masters at Work,
Ronnie Foster,
Nas,
Lightning Bolt,
Oppenheimer Analysis,
Sex Pistols,
the Germs,
Ultravox,
Juan Atkins,
Silicon Teens,
Flash Fearless,
Ajijia Myrayebe,
The Electric Prunes,
Tres Demented,
Roxette,
Teenage Jesus and the Jerks,
The Kinks,
Technova,
New Age Steppers,
Grandmaster Flash and the Furious Five,
Nik Kershaw,
The Fire Engines,
Lalo Schifrin,
LL Cool J,
B.T. Express,
Sad Lovers and Giants,
Drexciya,
Roxy Music,
Colin Newman,
Faust,
Siglo XX,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ronan,
Blossom Toes,
Aswad,
Charles Mingus,
Josef K,
Los Fastidios,
New York Dolls,
Newcleus,
Visionaries,LMNO, T- Love & Iriscience,
10cc,
Deutsch Amerikanische Freundschaft,
Rhythim Is Rhythim,
Gil Scott Heron,
Radiopuhelimet,
Traffic Nightmare,
Jandek,
The Offenders,
Visage,
Gian Franco Pienzio,
K-Klass,
Hot Snakes,
Monolake, Monolake, Monolake, Monolake.
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.