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 Moldova and from Edmonton.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Glasgow and Houston.
I'm losing my edge to the art-school Philadelphia 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Eyeless In Gaza to the disco 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 Beasts of Bourbon. All the underground hits.
All Donny Hathaway tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra record on German import.
I heard that you have a white label of every seminal jazz 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 a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Electric Prunes,
Pierre Henry,
the Bar-Kays,
Metal Thangz,
DJ Sneak,
Heaven 17,
Idris Muhammad,
Accadde A,
The Move,
DJ Style,
Danielle Patucci,
Amon Düül,
Gregory Isaacs,
Anthony Braxton,
Sly & The Family Stone,
The Red Krayola,
Surgeon,
Wolf Eyes,
Fugazi,
Ajijia Myrayebe,
Q and Not U,
Strawberry Alarm Clock,
Glambeats Corp.,
The Grass Roots,
Lucky Dragons,
The Star Department,
Ultra Naté,
The Busters,
Selector Dub Narcotic,
John Lydon,
Shuggie Otis,
Bobby Sherman,
The Kinks,
Technova,
Khruangbin,
Subhumans,
Alison Limerick,
Althea and Donna,
Country Joe & The Fish,
Siglo XX,
Bang On A Can,
Television,
Oneida,
Erykah Badu,
Johnny Clarke,
The Moody Blues,
T.S.O.L.,
The Music Machine,
Yusef Lateef,
Rekid,
Brick,
Soft Machine,
The Vogues,
ABBA,
Underground Resistance,
The Tremeloes,
The Trojans,
Louis and Bebe Barron,
Ituana,
Y Pants,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.