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 Macedonia and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Salvador and Columbus.
I'm losing my edge to the art-school Philadelphia 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 synthesizer 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 Happenings 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 Fela Kuti. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every Marc Almond 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Skatalites record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultimate Spinach,
Nico,
Marine Girls,
Tears for Fears,
The Gladiators,
Cabaret Voltaire,
Anthony Braxton,
Eyeless In Gaza,
The Invisible,
Grandmaster Flash and the Furious Five,
Talk Talk,
Whodini,
Sexual Harrassment,
The Martian,
Bill Near,
De La Soul & Jungle Brothers,
Liaisons Dangereuses,
Goldenarms,
Model 500,
The Kinks,
The Monks,
Heavy D & The Boyz,
The Pop Group,
Au Pairs,
Eric B and Rakim,
Swell Maps,
Dorothy Ashby,
Super Lover Cee & Casanova Rud,
Sound Behaviour,
The Red Krayola,
Suicide,
Jerry's Kids,
Bootsy Collins,
Bad Manners,
Sight & Sound,
Kayak,
Alison Limerick,
Flipper,
Bobby Sherman,
Crispian St. Peters,
Danielle Patucci,
Soul II Soul,
Banda Bassotti,
Drexciya,
Soft Machine,
The Dave Clark Five,
Eve St. Jones,
Outsiders,
Boogie Down Productions,
Mantronix,
Lonnie Liston Smith,
Roy Ayers,
Accadde A,
Warsaw,
LL Cool J,
John Cale,
Hasil Adkins,
Make Up,
The Fall,
Eric Copeland,
Scion,
A Flock of Seagulls,
Eric Dolphy,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.