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 Malawi and from Tokyo.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Columbus and Lyon.
I'm losing my edge to the art-school Bremen 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 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 Jesper Dahlback to the disco kids.
I played it at the Astoria.
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 Los Fastidios. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every Brick record on German import.
I heard that you have a white label of every seminal punk 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 güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
Tears for Fears,
Theoretical Girls,
Jeff Lynne,
The Knickerbockers,
Richard Hell and the Voidoids,
Subhumans,
The Doors,
Scrapy,
Aloha Tigers,
Drive Like Jehu,
Pole,
Eurythmics,
The Fuzztones,
Skaos,
Sound Behaviour,
Johnny Clarke,
Rekid,
Delta 5,
the Bar-Kays,
Country Teasers,
The Saints,
Monks,
Major Organ And The Adding Machine,
The Gap Band,
Terror Squad Feat. Camron,
Aswad,
Robert Wyatt,
Jimmy McGriff,
Röyhkä ja Rättö ja Lehtisalo,
Oblivians,
Gil Scott Heron,
Little Man,
Slave,
June Days,
Bootsy Collins,
Zero Boys,
Young Marble Giants,
Lakeside,
Tim Buckley,
Alphaville,
The United States of America,
the Soft Cell,
Skarface,
Joey Negro,
James White and The Blacks,
Masters at Work,
Todd Terry,
John Foxx,
Television,
Notorious BIG live in Amsterdam,
Orchestral Manoeuvres in the Dark,
Janne Schatter,
Flipper,
DJ Sneak,
Sister Nancy,
Sunsets and Hearts,
Lee Hazlewood,
DNA,
Curtis Mayfield, Curtis Mayfield, Curtis Mayfield, Curtis Mayfield.
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.