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 Azerbaijan and from Calgary.
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 1975.
I'm losing my edge.
To all the kids in Mexico City and Cairo.
I'm losing my edge to the art-school Manila 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 spring reverb 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 Nico to the techno kids.
I played it at Cafe Wha.
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 Gregory Isaacs. All the underground hits.
All The Blues Magoos tracks. I heard you have a vinyl of every The Dave Clark Five 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 theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalann,
Depeche Mode,
Cal Tjader,
The Smoke,
Tres Demented,
Sam Rivers,
The Slackers,
Heavy D & The Boyz,
DNA,
Tomorrow,
Lee Hazlewood,
Henry Cow,
Deutsch Amerikanische Freundschaft,
8 Eyed Spy,
Kaleidoscope,
The Kinks,
Hashim,
Unrelated Segments,
Scan 7,
The Index,
Leonard Cohen,
Lizzy Mercier Descloux,
Outsiders,
Eric Copeland,
H. Thieme,
Grey Daturas,
The Associates,
Ultra Naté,
Simply Red,
DeepChord presents Echospace,
Cameo,
The Techniques,
Japan,
Babytalk,
CMW,
Jeff Lynne,
Camberwell Now,
Gang Green,
Faust,
Ultramagnetic MC's,
Mr. Review,
Bill Near,
Infiniti,
Orchestral Manoeuvres in the Dark,
Heaven 17,
Suicide,
Public Enemy,
New York Dolls,
Jesper Dahlback,
The Grass Roots,
Sound Behaviour,
Stetsasonic,
The Motions,
Scott Walker,
Morten Harket,
Alice Coltrane,
The Music Machine,
Cabaret Voltaire,
The Star Department,
The Searchers,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.