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 Estonia and from Toronto.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Lyon and Copenhagen.
I'm losing my edge to the art-school Philadelphia 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Roger Hodgson to the dance kids.
I played it at the Spitz.
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 a-ha. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every Dorothy Ashby 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 chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
Au Pairs,
Pantaleimon,
Radiohead,
Nick Fraelich,
The Red Krayola,
U.S. Maple,
Lightning Bolt,
Erasure,
Orchestral Manoeuvres in the Dark,
Organ,
The New Christs,
Archie Shepp,
Mandrill,
Roger Hodgson,
Camberwell Now,
Blake Baxter,
Louis and Bebe Barron,
the Association,
Radiopuhelimet,
Donald Byrd,
Liaisons Dangereuses,
Kayak,
Marine Girls,
Freddie Wadling,
Jawbox,
Sound Behaviour,
Sixth Finger,
Connie Case,
Mo-Dettes,
Ohio Players,
Todd Terry,
Pete Rock & C.L. Smooth,
Cabaret Voltaire,
Eric Copeland,
Fear,
Panda Bear,
The Walker Brothers,
Oblivians,
Thompson Twins,
Ralphi Rosario,
Dead Boys,
Index,
Bauhaus,
the Fania All-Stars,
Johnny Clarke,
Moss Icon,
The Kinks,
Gil Scott-Heron and Jamie xx,
John Holt,
The Fortunes,
Vladislav Delay,
Icehouse,
X-102,
Excepter,
Johnny Osbourne,
The Fuzztones,
June Days,
Piero Umiliani,
Alphaville,
Dave Gahan, Dave Gahan, Dave Gahan, Dave Gahan.
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.