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 Armenia and from Glasgow.
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 1976.
I'm losing my edge.
To all the kids in Tokyo and Stockholm.
I'm losing my edge to the art-school Bologna 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Laurel Aitken to the crunk kids.
I played it at the 40 Watt.
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 Rosa Yemen. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every Qualms record on German import.
I heard that you have a white label of every seminal jazz 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 a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless 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?
Kango’s Stein Massive,
Mad Mike,
Icehouse,
The Monks,
Roxette,
Jimmy McGriff,
Ash Ra Tempel,
Sugar Minott,
MDC,
Roxy Music,
Robert Hood,
The Smoke,
Camron Feat. Jay Z And Juelz,
Liliput,
Steve Hackett,
Harpers Bizarre,
In Retrospect,
Rahsaan Roland Kirk,
Amazonics,
Strawberry Alarm Clock,
Flipper,
Wings,
Harmonia,
Soft Machine,
Drexciya,
Idris Muhammad,
Magazine,
Television Personalities,
Albert Ayler,
Desert Stars,
The Shadows of Knight,
Byron Stingily,
Robert Wyatt,
Brand Nubian,
The Leaves,
A Certain Ratio,
Frankie Knuckles,
Bobby Womack,
Richard Hell and the Voidoids,
Joensuu 1685,
Absolute Body Control,
Kenny Larkin,
Peter and Kerry,
Easy Going,
Maurizio,
Pussy Galore,
Pantytec,
Pagans,
Alphaville,
Suburban Knight,
Colin Newman,
Deepchord,
Scratch Acid,
Public Enemy,
Y Pants,
Spandau Ballet,
Ken Boothe,
Gang of Four,
Theoretical Girls,
Ralphi Rosario,
Black Moon,
Franke,
ABC,
Jacob Miller,
The Associates, The Associates, The Associates, The Associates.
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.