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 China and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Houston and Lyon.
I'm losing my edge to the art-school Lille 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Lizzy Mercier Descloux to the jazz kids.
I played it at the Troubador.
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 Television. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every The Mighty Diamonds record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Kool G Rap & DJ Polo,
The Mighty Diamonds,
The American Breed,
Silicon Teens,
Lyres,
Pantaleimon,
The Leaves,
The Searchers,
L. Decosne,
F. McDonald,
Mandrill,
Nico,
The Sound,
Charles Mingus,
Avey Tare's Slasher Flicks,
Intrusion,
Eve St. Jones,
Barry Ungar,
Henry Cow,
ABC,
Pharoah Sanders,
The Toasters,
Fatback Band,
Easy Going,
Marc Romboy vs. Booka Shade,
Royal Trux,
Dual Sessions,
Organ,
Byron Stingily,
Pierre Henry,
Fluxion,
Electric Light Orchestra,
Frankie Knuckles,
Albert Ayler,
the Human League,
Radiopuhelimet,
Kayak,
John Foxx,
The Mummies,
Amon Düül,
Grauzone,
Justin Hinds & The Dominoes,
Au Pairs,
Unwound,
Wasted Youth,
The Blues Magoos,
The Trojans,
Nils Olav,
Khruangbin,
Groovy Waters,
The Monochrome Set,
The Vogues,
Stereo Dub,
Soft Cell,
The Five Americans,
Buzzcocks,
Pantytec,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.