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 Slovenia and from New York.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Salvador and Cairo.
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 rhodes 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 Gang Starr to the grime kids.
I played it at the Troubador.
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 Masters at Work. All the underground hits.
All The Cosmic Jokers tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal techno 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 guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Electric Prunes record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Young Marble Giants,
Scratch Acid,
David Axelrod,
Pere Ubu,
Oppenheimer Analysis,
Dawn Penn,
Bang On A Can,
Boz Scaggs,
Motorama,
Saccharine Trust,
Sonic Youth,
MDC,
Spandau Ballet,
Deepchord,
Grandmaster Flash,
The Names,
The Gladiators,
Absolute Body Control,
Eric Copeland,
Shuggie Otis,
Gang Green,
Crispian St. Peters,
Cal Tjader,
Talk Talk,
Section 25,
Prince Buster,
Mars,
Fugazi,
Ten City,
Brass Construction,
Joe Finger,
Cybotron,
Soul II Soul,
Matthew Halsall,
Tom Boy,
Tropical Tobacco,
Flipper,
Flamin' Groovies,
The Fugs,
Swans,
Jesper Dahlbäck,
Pete Rock & C.L. Smooth,
Kool G Rap & DJ Polo,
Television Personalities,
Iggy Pop,
Jacob Miller,
Idris Muhammad,
Grey Daturas,
The Star Department,
Oblivians,
Audionom,
The Angels of Light,
Essential Logic,
Harpers Bizarre,
Ralphi Rosario,
Gong,
The Zeros,
The Doobie Brothers,
Warsaw,
Scrapy,
ABBA, ABBA, ABBA, ABBA.
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.