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 Somalia and from Hong Kong.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Manila.
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 sitar sounds with much patience.
I was there when Captain Beefheart 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 Minor Threat to the dance kids.
I played it at the 40 Watt.
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 A Certain Ratio. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal grime 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 an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Louis and Bebe Barron,
Chris Corsano,
Tom Boy,
Joe Smooth,
Joensuu 1685,
Rowland S Howard / Lydia Lunch,
Grauzone,
Dennis Brown,
Wire,
Alphaville,
Lizzy Mercier Descloux,
Danielle Patucci,
Arthur Verocai,
U.S. Maple,
Magazine,
The West Coast Pop Art Experimental Band,
Bauhaus,
Black Sheep,
Mandrill,
Ken Boothe,
Funkadelic,
Sexual Harrassment,
The Jesus and Mary Chain,
Roxy Music,
Fela Kuti,
The Index,
Pulsallama,
Barclay James Harvest,
The Golliwogs,
The Red Krayola,
Liliput,
Bootsy Collins,
Richard Hell and the Voidoids,
Joey Negro,
The J.B.'s,
Babytalk,
ABC,
Tomorrow,
Whodini,
Chris & Cosey,
Television,
Lonnie Liston Smith,
The Chocolate Watch Band,
Moby Grape,
Be Bop Deluxe,
Marc Romboy vs. Booka Shade,
Tubeway Army,
FM Einheit,
Robert Görl,
Rosa Yemen,
Fad Gadget,
Donny Hathaway,
Gary Puckett & The Union Gap,
Joy Division,
Mo-Dettes,
Ultramagnetic MC's,
Avey Tare's Slasher Flicks,
The Black Dice,
Shuggie Otis,
Panda Bear,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.