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 India and from New York.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Philadelphia.
I'm losing my edge to the art-school Milan 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Lou Christie to the grunge 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 Con Funk Shun. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Popol Vuh record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
Max Romeo,
Aswad,
Marmalade,
Skarface,
Cecil Taylor,
The Fire Engines,
Infiniti,
Davy DMX,
Motorama,
Anakelly,
The Names,
Marcia Griffiths,
Gary Puckett & The Union Gap,
The Techniques,
The Associates,
Wasted Youth,
JFA,
Fluxion,
Pantytec,
Kerrie Biddell,
Mandrill,
Hashim,
Thee Headcoats,
KRS-One,
Grey Daturas,
The Red Krayola,
FM Einheit,
Red Lorry Yellow Lorry,
kango's stein massive,
R.M.O.,
Depeche Mode,
The Trojans,
The Sound,
Suburban Knight,
Circle Jerks,
Soft Cell,
Tres Demented,
Ash Ra Tempel,
Matthew Bourne,
Gil Scott Heron,
Saccharine Trust,
Eyeless In Gaza,
New York Dolls,
The Tremeloes,
Harpers Bizarre,
David Axelrod,
Aaron Thompson,
Junior Murvin,
Be Bop Deluxe,
Vaughan Mason & Crew,
Gabor Szabo,
The Move,
Mad Mike,
Reuben Wilson,
H. Thieme,
Minutemen,
Tommy Roe,
Roy Ayers Ubiquity,
Gian Franco Pienzio,
Rhythm & Sound,
Peter and Kerry,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.