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 Portugal and from Stockholm.
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 1974.
I'm losing my edge.
To all the kids in Calgary and Accra.
I'm losing my edge to the art-school Winnipeg 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the guitar 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 Notorious BIG live in Amsterdam to the disco kids.
I played it at the Hacienda.
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 Liaisons Dangereuses. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Blancmange record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Fania All-Stars,
Mark Hollis,
Strawberry Alarm Clock,
In Retrospect,
Soft Machine,
Sight & Sound,
ABC,
Accadde A,
Public Enemy,
Sandy B,
Eden Ahbez,
D'Angelo,
Lou Reed & John Cale,
Tubeway Army,
Bush Tetras,
Gil Scott-Heron & Brian Jackson,
Tomorrow,
DeepChord presents Echospace,
Minutemen,
Peter & Gordon,
Fugazi,
Underground Resistance,
Brass Construction,
48th St. Collective,
Connie Case,
Blancmange,
10cc,
E-Dancer,
Sun Ra,
the Germs,
The Count Five,
Gerry Rafferty,
Scratch Acid,
Lou Reed & Metallica,
David Axelrod,
The Music Machine,
A Certain Ratio,
Marc Romboy vs. Booka Shade,
Delta 5,
Tropical Tobacco,
The Vogues,
John Coltrane,
The Star Department,
The Gun Club,
Piero Umiliani,
Lou Reed,
The Pop Group,
Heaven 17,
Electric Light Orchestra,
Cymande,
Kayak,
Desert Stars,
8 Eyed Spy,
Excepter,
Joe Finger,
Crooked Eye,
Au Pairs,
Quando Quango,
Maurizio,
Ralphi Rosario,
Crash Course in Science,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.