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 Afghanistan and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 Portland and Jakarta.
I'm losing my edge to the art-school Lyon 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 clarinet sounds with much patience.
I was there when Nile Rodgers 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 Depeche Mode 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 Liliput. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every Monolake 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 '70s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Jandek record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
The Moleskins,
Neil Young & Crazy Horse,
Drexciya,
U.S. Maple,
Jacob Miller,
Gang Gang Dance,
Underground Resistance,
10cc,
The Black Dice,
Morten Harket,
Pharaoh Sanders and the Fire Engines,
John Coltrane,
The Slackers,
The Residents,
Mission of Burma,
Strawberry Alarm Clock,
Schoolly D,
Ultra Naté,
Visage,
Lucky Dragons,
Masters at Work,
Rotary Connection,
Gang of Four,
Notorious Big And Bone Thugs,
Bauhaus,
Sixth Finger,
Black Sheep,
Arab on Radar,
The Fuzztones,
The Toasters,
Tropical Tobacco,
Donald Byrd,
Kaleidoscope,
Buzzcocks,
Monolake,
Gil Scott-Heron and Jamie xx,
Cymande,
Slick Rick,
Shuggie Otis,
Popol Vuh,
Massinfluence,
Reuben Wilson,
Kerrie Biddell,
Wasted Youth,
Big Daddy Kane,
John Foxx,
Stetsasonic,
Althea and Donna,
JFA,
Freddie Wadling,
The Sonics,
Jeru the Damaja,
Bang on a Can All-Stars,
Oneida,
Deepchord,
Major Organ And The Adding Machine,
Ultramagnetic MC's,
Outsiders,
Jandek,
Peter Gordon & Love of Life Orchestra,
Sexual Harrassment,
A Flock of Seagulls,
Avey Tare, Avey Tare, Avey Tare, Avey Tare.
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.