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 Luxembourg and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1979.
I'm losing my edge.
To all the kids in Lyon and Glasgow.
I'm losing my edge to the art-school Portland 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Swans to the dance 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 Bobby Womack. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every Aloha Tigers 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Jimmy McGriff record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Outsiders,
Lakeside,
It's A Beautiful Day,
The Cramps,
Barclay James Harvest,
The Blues Magoos,
X-102,
Maleditus Sound,
Guru Guru,
Saccharine Trust,
Ituana,
Bronski Beat,
Mission of Burma,
Fort Wilson Riot,
The United States of America,
Soul Sonic Force,
Teenage Jesus and the Jerks,
Hasil Adkins,
The American Breed,
Gary Puckett & The Union Gap,
Technova,
Deadbeat,
Sugar Minott,
The Divine Comedy,
Pierre Henry,
Minutemen,
EPMD,
Erasure,
Pantaleimon,
Pere Ubu,
Nirvana,
Deutsch Amerikanische Freundschaft,
R.M.O.,
Camron Feat. Memphis Bleek And Beenie Seigel,
Anthony Braxton,
The Smoke,
the Germs,
Warren Ellis,
Basic Channel,
PIL,
Jacob Miller,
Maurizio,
Traffic Nightmare,
Joe Smooth,
Aaron Thompson,
Juan Atkins,
DNA,
Gabor Szabo,
Michelle Simonal,
Radiohead,
Stereo Dub,
Mars,
Sex Pistols,
The Young Rascals,
Josef K,
Amon Düül,
De La Soul & Jungle Brothers,
Yaz,
Dawn Penn,
Reagan Youth,
Bad Manners,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.