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 Cyprus and from Bologna.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Columbus and Johannesburg.
I'm losing my edge to the art-school Edmonton 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 Michael McDonald 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 Unrelated Segments to the disco 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 Mark Hollis. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Cybotron record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Altered Images record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jawbox,
Dawn Penn,
Notorious BIG live in Amsterdam,
The Slackers,
Von Mondo,
Marc Almond,
Jeff Lynne,
Kenny Larkin,
The Pretty Things,
Rufus Thomas,
Gabor Szabo,
Young Marble Giants,
Icehouse,
Soft Machine,
Radio Birdman,
Blancmange,
Reagan Youth,
Flash Fearless,
Reuben Wilson,
David Axelrod,
Throbbing Gristle,
Moby Grape,
Rhythim Is Rhythim,
Rowland S Howard / Lydia Lunch,
Jesper Dahlbäck,
Soulsonic Force,
June Days,
48th St. Collective,
Bobby Hutcherson,
Grandmaster Flash and the Furious Five,
Bill Wells,
Q65,
Lightning Bolt,
Girls At Our Best!,
Man Parrish,
kango's stein massive,
John Cale,
D'Angelo,
Kevin Saunderson,
Fifty Foot Hose,
Model 500,
Hoover,
The Dead C,
Piero Umiliani,
Roy Ayers Ubiquity,
David McCallum,
Ultramagnetic MC's,
Jerry's Kids,
Letta Mbulu,
Average White Band,
Crash Course in Science,
E-Dancer,
Lebanon Hanover,
The Jesus and Mary Chain,
Pharaoh Sanders and the Fire Engines,
The Star Department,
The West Coast Pop Art Experimental Band,
Glambeats Corp.,
The J.B.'s,
Outsiders,
Dorothy Ashby,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.