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 Armenia and from Paris.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Bremen and Columbus.
I'm losing my edge to the art-school Salvador 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 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 a-ha to the dance kids.
I played it at the Hacienda.
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 Gian Franco Pienzio. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
Alice Coltrane,
Lindisfarne,
Mad Mike,
Lightning Bolt,
T. Rex,
Radiopuhelimet,
E-Dancer,
A Flock of Seagulls,
Dark Day,
Shuggie Otis,
The New Christs,
Pantaleimon,
Bill Wells,
Au Pairs,
Chris Corsano,
ABC,
Peter Gordon & Love of Life Orchestra,
Orchestral Manoeuvres in the Dark,
These Immortal Souls,
Teenage Jesus and the Jerks,
Minutemen,
The Trojans,
Yaz,
June of 44,
Massinfluence,
Heaven 17,
Nico,
Harpers Bizarre,
Infiniti,
Crispy Ambulance,
Lee Hazlewood,
Nick Fraelich,
Arthur Verocai,
China Crisis,
The Five Americans,
The Tremeloes,
Byron Stingily,
The Electric Prunes,
Glenn Branca,
Slave,
The Moleskins,
The Stooges,
Peter and Kerry,
Mantronix,
Rowland S Howard / Lydia Lunch,
The Buckinghams,
Lakeside,
Warsaw,
Skaos,
Sex Pistols,
Sandy B,
June Days,
Loose Ends,
Jesper Dahlbäck,
Babytalk,
Visage,
Wire,
Avey Tare & Kría Brekkan,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.