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 Niger and from Stockholm.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Manchester and Spokane.
I'm losing my edge to the art-school Portland 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 snare 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 Gerry Rafferty to the techno 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 Pere Ubu. All the underground hits.
All Kauko Röyhkä ja Narttu tracks. I heard you have a vinyl of every Man Parrish 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 '80s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Essential Logic record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
The Seeds,
Terrestrial Tones,
Eddi Front,
Rod Modell,
Camouflage,
H. Thieme,
Thinking Fellers Union Local 282,
Tears for Fears,
The Mojo Men,
Delta 5,
The Victims,
Public Enemy,
Lalo Schifrin,
Nick Fraelich,
Das Ding,
Blake Baxter,
The Real Kids,
Rufus Thomas,
Simply Red,
Röyhkä ja Rättö ja Lehtisalo,
Wighnomy Brothers & Robag Wruhme,
Pharaoh Sanders and the Fire Engines,
FM Einheit,
Arab on Radar,
Visage,
Stockholm Monsters,
Roxy Music,
Black Moon,
Larry & the Blue Notes,
The Tremeloes,
L. Decosne,
The Leaves,
Hasil Adkins,
Juan Atkins,
Avey Tare & Kría Brekkan,
Spandau Ballet,
Marc Almond,
Cybotron,
Crispy Ambulance,
Bad Manners,
the Sonics,
Arthur Verocai,
Sight & Sound,
Rakim,
Urselle,
Pagans,
Sly & The Family Stone,
The Birthday Party,
Joensuu 1685,
Idris Muhammad,
John Foxx,
John Holt,
Harmonia,
Tomorrow,
Deadbeat,
One Last Wish,
Scientists,
Lungfish,
Scratch Acid,
The Flesh Eaters,
The Young Rascals,
The Pretty Things,
Echospace, Echospace, Echospace, Echospace.
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.