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 Romania and from Paris.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Lille.
I'm losing my edge to the art-school Mumbai 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 oboe 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 Steve Hackett to the electroclash 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 Dual Sessions. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every Pagans record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Jeru the Damaja,
Sound Behaviour,
Mandrill,
The Monochrome Set,
Swell Maps,
Bill Near,
Masters at Work,
Das Ding,
Simply Red,
Sister Nancy,
Spoonie Gee,
Basic Channel,
Absolute Body Control,
Main Source,
Crispian St. Peters,
The Five Americans,
a-ha,
Deutsch Amerikanische Freundschaft,
Rod Modell,
Joensuu 1685,
Tropical Tobacco,
E-Dancer,
John Coltrane,
Kerrie Biddell,
Q and Not U,
Crime,
The Remains,
Kayak,
Tom Boy,
Popol Vuh,
Ornette Coleman,
Mark Hollis,
The Last Poets,
Red Lorry Yellow Lorry,
Camberwell Now,
cv313,
Yusef Lateef,
Arcadia,
Minor Threat,
Terrestrial Tones,
Gong,
Wolf Eyes,
Bobbi Humphrey,
Jawbox,
Lou Christie,
Stetsasonic,
Peter Gordon & Love of Life Orchestra,
Outsiders,
Arthur Verocai,
Cybotron,
Roxy Music,
The Searchers,
Dennis Brown,
F. McDonald,
the Normal,
Flash Fearless,
Kool Moe Dee,
Saccharine Trust,
Q65,
Ultra Naté,
DNA, DNA, DNA, DNA.
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.