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 Andorra and from Toronto.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Toronto.
I'm losing my edge to the art-school Lyon 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Susan Cadogan to the dance kids.
I played it at Cafe Wha.
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 Traffic Nightmare. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Cabaret Voltaire record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
Nation of Ulysses,
Qualms,
The Music Machine,
Minny Pops,
Isaac Hayes,
Con Funk Shun,
CMW,
Ultra Naté,
Lou Christie,
Bobby Hutcherson,
Country Joe & The Fish,
T.S.O.L.,
Rod Modell,
Electric Light Orchestra,
Clear Light,
Joy Division,
The Names,
The Mighty Diamonds,
Massinfluence,
Mad Mike,
Soul II Soul,
Jeru the Damaja,
The Cowsills,
The Tremeloes,
Metal Thangz,
the Association,
Inner City,
Cal Tjader,
The Moody Blues,
Bobby Sherman,
The Barracudas,
Todd Rundgren,
Art Ensemble Of Chicago,
Skarface,
Matthew Halsall,
Accadde A,
Reagan Youth,
Tubeway Army,
The Techniques,
Minutemen,
Tropical Tobacco,
The Monks,
Derrick May,
Rapeman,
Mr. Review,
Bill Wells,
Brothers Johnson,
Second Layer,
Robert Hood,
New York Dolls,
Sad Lovers and Giants,
Lou Reed & John Cale,
Deakin,
Unrelated Segments,
Wolf Eyes,
Johnny Clarke,
JFA,
Bobbi Humphrey,
The Alarm Clocks,
Newcleus,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.