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 Brazil and from Salvador.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1974.
I'm losing my edge.
To all the kids in Seoul and Paris.
I'm losing my edge to the art-school Woodstock 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 guitar sounds with much patience.
I was there when Lou Reed 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 Television Personalities to the crunk 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 Jesper Dahlbäck. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Blancmange record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
Lower 48,
Marc Almond,
The Red Krayola,
Orchestral Manoeuvres in the Dark,
the Swans,
Ronan,
Kas Product,
Ralphi Rosario,
B.T. Express,
Newcleus,
Pole,
Second Layer,
Drive Like Jehu,
Au Pairs,
Max Romeo,
Radiohead,
the Soft Cell,
Lyres,
The Remains,
Nirvana,
Oppenheimer Analysis,
Absolute Body Control,
The Stooges,
Roxette,
Kauko Röyhkä ja Narttu,
H. Thieme,
Circle Jerks,
Barclay James Harvest,
The Shadows of Knight,
The Standells,
Inner City,
Television,
Reagan Youth,
Marmalade,
10cc,
Gastr Del Sol,
Wighnomy Brothers & Robag Wruhme,
Lou Reed & Metallica,
Marvin Gaye,
Vladislav Delay,
The Evens,
Warren Ellis,
Clear Light,
Morten Harket,
Eli Mardock,
Angels of Light & Akron/Family,
Manfred Mann's Earth Band,
The Detroit Cobras,
Dark Day,
Idris Muhammad,
Ultravox,
Man Parrish,
Flamin' Groovies,
Tropical Tobacco,
Metal Thangz,
Judy Mowatt,
Pharaoh Sanders and the Fire Engines,
Robert Hood,
Henry Cow,
Lou Christie,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.