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 Bolivia and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Lille.
I'm losing my edge to the art-school Delhi 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 arpeggiator 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 Arab on Radar to the dance kids.
I played it at CBGB's.
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 Donald Byrd. All the underground hits.
All H. Thieme tracks. I heard you have a vinyl of every Bobby Sherman 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Kevin Saunderson,
Morten Harket,
Roxette,
Sarah Menescal,
Kango’s Stein Massive,
Gian Franco Pienzio,
Eli Mardock,
Lee Hazlewood,
Darondo,
Saccharine Trust,
Vladislav Delay,
Barrington Levy,
Magazine,
Neil Young & Crazy Horse,
Rhythim Is Rhythim,
David Axelrod,
Neil Young,
Kas Product,
Yellowson,
Model 500,
The Offenders,
New Order,
Scientists,
Delta 5,
Magma,
The Fuzztones,
Mars,
Echospace,
Derrick Morgan,
The Divine Comedy,
Letta Mbulu,
Tommy Roe,
The Associates,
Thinking Fellers Union Local 282,
John Lydon,
The Fugs,
Monolake,
Nation of Ulysses,
Anthony Braxton,
Panda Bear,
Ituana,
L. Decosne,
Main Source,
10cc,
Gang Gang Dance,
Ultramagnetic MC's,
Warsaw,
Terrestrial Tones,
Glambeats Corp.,
Section 25,
John Coltrane,
Sound Behaviour,
Outsiders,
Basic Channel,
The Knickerbockers,
John Foxx,
Mark Hollis,
Big Daddy Kane,
The Kinks,
David Bowie, David Bowie, David Bowie, David Bowie.
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.