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 Djibouti and from Manila.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1972.
I'm losing my edge.
To all the kids in London and Spokane.
I'm losing my edge to the art-school Lagos 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 Intrusion to the funk 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 Shoche. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Bush Tetras record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Yusef Lateef,
Fat Boys,
Can,
EPMD,
Aaron Thompson,
Flamin' Groovies,
Black Moon,
Jerry Gold Smith,
Rakim,
Popol Vuh,
Matthew Bourne,
Mad Mike,
Spandau Ballet,
Piero Umiliani,
Arcadia,
The Gun Club,
Richard Hell and the Voidoids,
Connie Case,
Unwound,
The Index,
John Foxx,
Infiniti,
Swell Maps,
Pantaleimon,
Teenage Jesus and the Jerks,
The Slackers,
Wire,
The Cosmic Jokers,
Ossler,
Electric Light Orchestra,
Country Teasers,
Bobby Hutcherson,
Niagra,
DJ Sneak,
Vladislav Delay,
Alison Limerick,
David McCallum,
Saccharine Trust,
Matthew Halsall,
Freddie Wadling,
Wighnomy Brothers & Robag Wruhme,
Archie Shepp,
Nas,
Crooked Eye,
Darondo,
Jawbox,
Nico,
The Kinks,
The Young Rascals,
David Bowie,
Make Up,
Kauko Röyhkä ja Narttu,
Eli Mardock,
Agent Orange,
Porter Ricks,
Suicide,
The Gap Band,
Jeff Lynne,
Eden Ahbez,
Crime,
Alphaville, Alphaville, Alphaville, Alphaville.
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.