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 Denmark and from Tehran.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Seoul and Mumbai.
I'm losing my edge to the art-school Jakarta 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 arpeggiator 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 The Standells to the jazz kids.
I played it at the Troubador.
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 Avey Tare. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every The Velvet Underground 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 '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your güiro and bought an oboe.
I hear that you and your band have sold your oboe and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Youth Brigade,
Sexual Harrassment,
Laurel Aitken,
Suburban Knight,
U.S. Maple,
Pet Shop Boys,
Schoolly D,
Vladislav Delay,
Radiopuhelimet,
Hot Snakes,
Sun City Girls,
Public Enemy,
Interpol,
Kool G Rap & DJ Polo,
Marmalade,
Kenny Larkin,
Todd Rundgren,
Mars,
Blancmange,
The Selecter,
Pulsallama,
Barrington Levy,
Gong,
Darondo,
Idris Muhammad,
The Velvet Underground,
Throbbing Gristle,
Jacques Brel,
Absolute Body Control,
Amazonics,
The Fire Engines,
Fifty Foot Hose,
Eric Copeland,
Slave,
Sun Ra,
Al Stewart,
Make Up,
Arthur Verocai,
Strawberry Alarm Clock,
AZ,
Goldenarms,
Avey Tare & Kría Brekkan,
Television,
Matthew Halsall,
Blake Baxter,
Gil Scott-Heron & Brian Jackson,
the Bar-Kays,
A Certain Ratio,
Eurythmics,
Jeff Lynne,
Liliput,
Louis and Bebe Barron,
Fear,
Eric Dolphy,
Girls At Our Best!,
Dawn Penn,
Visage,
Art Ensemble Of Chicago,
Circle Jerks,
Radiohead,
The Move, The Move, The Move, The Move.
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.