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 Liberia and from Spokane.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Columbus.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the oboe sounds with much patience.
I was there when Tom Verlaine 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 Agitation Free to the crunk kids.
I played it at Trash.
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 Boz Scaggs. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope 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 Searchers,
Flamin' Groovies,
Neil Young,
The Victims,
Amon Düül,
The Associates,
The Star Department,
A Flock of Seagulls,
Laurel Aitken,
Isaac Hayes,
Susan Cadogan,
Jacques Brel,
Boredoms,
The Neon Judgement,
Deutsch Amerikanische Freundschaft,
Blossom Toes,
The Knickerbockers,
Essential Logic,
Pere Ubu,
Fear,
Arab on Radar,
Babytalk,
The United States of America,
Avey Tare's Slasher Flicks,
MC5,
Marc Romboy vs. Booka Shade,
Gong,
Kerrie Biddell,
Röyhkä ja Rättö ja Lehtisalo,
Howard Jones,
Alice Coltrane,
Boogie Down Productions,
The Mojo Men,
Alphaville,
The Modern Lovers,
Nick Fraelich,
Ice-T,
Magazine,
ABBA,
Scan 7,
Cameo,
Angels of Light & Akron/Family,
Black Bananas,
Bill Wells,
John Holt,
Quantec,
Tom Boy,
Electric Prunes,
The Chocolate Watch Band,
Bill Near,
FM Einheit,
Moebius,
Nico,
Model 500,
The Litter,
The Wake,
The Techniques,
La Düsseldorf,
June Days,
Joyce Sims,
Young Marble Giants,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.