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 Hungary and from Hong Kong.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Houston and Milan.
I'm losing my edge to the art-school Winnipeg 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 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 Graham Central Station to the techno kids.
I played it at the Astoria.
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 Loose Ends. All the underground hits.
All Beasts of Bourbon tracks. I heard you have a vinyl of every The Martian record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Saints,
Dr. Dre and Snoop Doggy Dog,
Lou Christie,
Camouflage,
Gil Scott-Heron and Jamie xx,
Harry Pussy,
Dark Day,
Orchestral Manoeuvres in the Dark,
Notorious BIG live in Amsterdam,
Black Pus,
Magma,
The Slits,
Blossom Toes,
The Monochrome Set,
Wasted Youth,
In Retrospect,
Make Up,
Gian Franco Pienzio,
Sixth Finger,
Hardrive,
DJ Style,
Gastr Del Sol,
La Düsseldorf,
Brothers Johnson,
Sound Behaviour,
Warsaw,
Gang of Four,
the Normal,
Minutemen,
Boogie Down Productions,
cv313,
Aloha Tigers,
Black Moon,
The American Breed,
New York Dolls,
Steve Hackett,
Neil Young,
48th St. Collective,
JFA,
Cluster,
Rahsaan Roland Kirk,
Underground Resistance,
Amazonics,
Bill Wells,
Drexciya,
8 Eyed Spy,
Dead Boys,
Technova,
The Count Five,
David McCallum,
Flamin' Groovies,
Charles Mingus,
ABBA,
Barrington Levy,
Q65,
The Remains,
Deakin,
The Gap Band,
Duran Duran,
Eve St. Jones, Eve St. Jones, Eve St. Jones, Eve St. Jones.
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.