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 Croatia 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 1963 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Lille.
I'm losing my edge to the art-school Copenhagen 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the sitar 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 Jacob Miller to the funk kids.
I played it at Trash.
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 James White and The Blacks. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scan 7,
Mars,
Yellowson,
ABC,
AZ,
Colin Newman,
Art Ensemble Of Chicago,
Robert Görl,
Goldenarms,
Neil Young,
Kango’s Stein Massive,
The Count Five,
Qualms,
Cluster,
Neu!,
Oneida,
Marc Almond,
Rahsaan Roland Kirk,
The Moody Blues,
Gong,
Jesper Dahlback,
Derrick May,
Tomorrow,
Dave Gahan,
Todd Terry,
Mary Jane Girls,
Jeff Lynne,
Jerry Gold Smith,
T.S.O.L.,
Essential Logic,
Pierre Henry,
Freddie Wadling,
Traffic Nightmare,
Aaron Thompson,
Electric Light Orchestra,
Strawberry Alarm Clock,
Cybotron,
Easy Going,
Red Lorry Yellow Lorry,
Nas,
Jerry's Kids,
The Fire Engines,
Deutsch Amerikanische Freundschaft,
Frankie Knuckles,
Darondo,
Dark Day,
Camouflage,
Unwound,
Swans,
Supertramp,
Barclay James Harvest,
Brothers Johnson,
Vainqueur,
Eric B and Rakim,
Minor Threat,
Sunsets and Hearts,
Moss Icon,
Junior Murvin,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.