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 Suriname and from Salvador.
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 1973.
I'm losing my edge.
To all the kids in Stockholm and Johannesburg.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the organ sounds with much patience.
I was there when Michael McDonald 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 Accadde A to the dance kids.
I played it at the Crocodile.
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 Country Joe & The Fish. All the underground hits.
All MC5 tracks. I heard you have a vinyl of every Justin Hinds & The Dominoes 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
Chrome,
Yellowson,
Television,
Chris & Cosey,
The Index,
Nik Kershaw,
Derrick May,
Amon Düül,
Magazine,
Janne Schatter,
The Invisible,
Tears for Fears,
Brass Construction,
Nas,
Lee Hazlewood,
D'Angelo,
Technova,
Prince Buster,
The Flesh Eaters,
The Cowsills,
Eurythmics,
Grauzone,
Maleditus Sound,
Model 500,
Richard Hell and the Voidoids,
David Axelrod,
Captain Beefheart & His Magic Band,
Pantaleimon,
Radiopuhelimet,
Rowland S Howard / Lydia Lunch,
10cc,
Gregory Isaacs,
Bad Manners,
Malaria!,
Parry Music,
Gian Franco Pienzio,
Monks,
Lalann,
Bobby Byrd,
Buzzcocks,
Crooked Eye,
Excepter,
Yusef Lateef,
Talk Talk,
Funkadelic,
Siouxsie and the Banshees,
Blancmange,
Deutsch Amerikanische Freundschaft,
Alison Limerick,
Angry Samoans,
The Remains,
Pantytec,
Newcleus,
The Durutti Column,
The Mighty Diamonds,
Rahsaan Roland Kirk,
Black Flag,
Panda Bear,
Goldenarms,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.