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 Costa Rica and from Houston.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1960 to 1970.
I'm losing my edge.
To all the kids in Milan and Madrid.
I'm losing my edge to the art-school Johannesburg 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 spring reverb 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 The Mojo Men to the jazz kids.
I played it at Cafe Wha.
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 Bronski Beat. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Echo & the Bunnymen record on German import.
I heard that you have a white label of every seminal funk 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 an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
Japan,
Lou Reed & Metallica,
Althea and Donna,
Wire,
Max Romeo,
Spandau Ballet,
Fear,
Minny Pops,
The Beau Brummels,
the Normal,
The Divine Comedy,
B.T. Express,
Audionom,
Steve Hackett,
Deadbeat,
The Tremeloes,
Jesper Dahlback,
Lebanon Hanover,
Crash Course in Science,
The Red Krayola,
Mars,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Lou Reed,
Ronan,
The Music Machine,
The Fire Engines,
Agitation Free,
The Black Dice,
Nas,
Sound Behaviour,
Mandrill,
Animal Collective,
Joe Smooth,
Con Funk Shun,
Tom Boy,
David Bowie,
The Stooges,
Outsiders,
Masters at Work,
Make Up,
The Peanut Butter Conspiracy,
Shoche,
The Fugs,
The J.B.'s,
Underground Resistance,
Rotary Connection,
Kool Moe Dee,
Avey Tare,
Dorothy Ashby,
Matthew Halsall,
Visage,
Moebius,
Soft Machine,
the Soft Cell,
Girls At Our Best!,
Crispy Ambulance,
Warsaw,
The Doors, The Doors, The Doors, The Doors.
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.