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 Egypt and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1974.
I'm losing my edge.
To all the kids in New York and Portland.
I'm losing my edge to the art-school Copenhagen 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 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 Desert Stars to the dance kids.
I played it at the Spitz.
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 Popol Vuh. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every Sexual Harrassment record on German import.
I heard that you have a white label of every seminal electroclash 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 a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Oblivians record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
Amon Düül II,
Sparks,
Stetsasonic,
Dark Day,
The Electric Prunes,
X-102,
Television Personalities,
A Certain Ratio,
Slick Rick,
The Pretty Things,
The Busters,
The Slackers,
The Mojo Men,
Larry & the Blue Notes,
Peter and Kerry,
Eden Ahbez,
Fat Boys,
Dead Boys,
Skarface,
Dave Gahan,
Echospace,
Fad Gadget,
Donald Byrd,
Kevin Saunderson,
Drive Like Jehu,
The Sonics,
Rites of Spring,
Kings Of Tomorrow,
Sad Lovers and Giants,
Red Lorry Yellow Lorry,
Chris & Cosey,
Magazine,
The Pop Group,
Man Eating Sloth,
Louis and Bebe Barron,
Aaron Thompson,
Lizzy Mercier Descloux,
Kauko Röyhkä ja Narttu,
Henry Cow,
Andrew Ashong & Theo Parrish,
Major Organ And The Adding Machine,
Crash Course in Science,
Curtis Mayfield,
Marcia Griffiths,
The Seeds,
Accadde A,
Hoover,
Rhythim Is Rhythim,
Davy DMX,
Negative Approach,
the Sonics,
Letta Mbulu,
Mo-Dettes,
Massinfluence,
The Peanut Butter Conspiracy,
David Bowie,
Althea and Donna,
Max Romeo,
Pylon,
Barrington Levy,
Skaos,
Faraquet, Faraquet, Faraquet, Faraquet.
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.