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 the UAE and from Philadelphia.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Shanghai.
I'm losing my edge to the art-school Tehran 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Barclay James Harvest to the punk 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 Loose Ends. All the underground hits.
All Bobby Womack tracks. I heard you have a vinyl of every Visage 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 '70s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
The Monochrome Set,
Strawberry Alarm Clock,
Monks,
Black Sheep,
Crime,
Colin Newman,
Bobbi Humphrey,
Soft Machine,
Barclay James Harvest,
Matthew Bourne,
Desert Stars,
Teenage Jesus and the Jerks,
Crispy Ambulance,
Derrick May,
Mission of Burma,
Amon Düül,
The Velvet Underground,
Hardrive,
Brothers Johnson,
The Selecter,
Robert Hood,
Andrew Ashong & Theo Parrish,
U.S. Maple,
Easy Going,
Urselle,
Lebanon Hanover,
Depeche Mode,
Fela Kuti,
Eden Ahbez,
Monolake,
Agent Orange,
The Jesus and Mary Chain,
Aaron Thompson,
Throbbing Gristle,
Surgeon,
The United States of America,
Scrapy,
The J.B.'s,
Fort Wilson Riot,
Glenn Branca,
Eurythmics,
In Retrospect,
Kas Product,
The Gap Band,
Man Eating Sloth,
Interpol,
The Fuzztones,
Ossler,
Sällskapet,
Manfred Mann's Earth Band,
Max Romeo,
Funky Four + One,
KRS-One,
Dual Sessions,
Reuben Wilson,
Von Mondo,
Matthew Halsall,
Thompson Twins,
Oneida, Oneida, Oneida, Oneida.
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.