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 Senegal and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in London and Manchester.
I'm losing my edge to the art-school Tehran 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 Donald Fagen 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 Bill Wells 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 Kaleidoscope. All the underground hits.
All The Raincoats tracks. I heard you have a vinyl of every Average White Band record on German import.
I heard that you have a white label of every seminal crunk 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 rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Delta 5 record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Lou Reed & John Cale,
Warsaw,
Boredoms,
Gang Starr,
Sarah Menescal,
The Slits,
Siouxsie and the Banshees,
Hasil Adkins,
The Offenders,
Funky Four + One,
Flipper,
The Saints,
Model 500,
The Angels of Light,
Deakin,
Gian Franco Pienzio,
Shuggie Otis,
Angels of Light & Akron/Family,
Inner City,
Danielle Patucci,
Crash Course in Science,
Barclay James Harvest,
The Walker Brothers,
Arthur Verocai,
A Certain Ratio,
The Last Poets,
Masters at Work,
DJ Sneak,
Neil Young & Crazy Horse,
Lou Reed,
Bill Wells,
Kango’s Stein Massive,
One Last Wish,
F. McDonald,
The Sound,
the Sonics,
Thompson Twins,
Sandy B,
The Blues Magoos,
48th St. Collective,
Dark Day,
Sam Rivers,
Franke,
Kings Of Tomorrow,
Black Moon,
Moby Grape,
Ice-T,
Jacob Miller,
Jeff Lynne,
Roxy Music,
The Fortunes,
Arab on Radar,
Gastr Del Sol,
Das Ding,
EPMD,
Toni Rubio,
Jeff Mills,
Boz Scaggs,
The Birthday Party,
Delon & Dalcan,
Faust,
Cymande, Cymande, Cymande, Cymande.
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.