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 Niger and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Glasgow and New York.
I'm losing my edge to the art-school Copenhagen 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 Nile Rodgers 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 Selector Dub Narcotic to the funk kids.
I played it at the Troubador.
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 Cybotron. All the underground hits.
All Sun Ra tracks. I heard you have a vinyl of every Cymande 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 '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
The Fire Engines,
Delon & Dalcan,
CMW,
Infiniti,
The Wake,
Byron Stingily,
Roxy Music,
Terrestrial Tones,
Quadrant,
Dead Boys,
Siglo XX,
Bizarre Inc.,
The Associates,
Surgeon,
Nick Fraelich,
Flipper,
Girls At Our Best!,
Crooked Eye,
Skaos,
Eric Copeland,
Jacob Miller,
Glambeats Corp.,
Fugazi,
Outsiders,
Lalo Schifrin,
Slick Rick,
Piero Umiliani,
Justin Hinds & The Dominoes,
Harpers Bizarre,
John Lydon,
kango's stein massive,
Orchestral Manoeuvres in the Dark,
James White and The Blacks,
Rotary Connection,
Siouxsie and the Banshees,
Con Funk Shun,
B.T. Express,
the Soft Cell,
Anakelly,
Althea and Donna,
The Gun Club,
Man Parrish,
Isaac Hayes,
The Five Americans,
Dennis Brown,
the Swans,
Zapp,
X-102,
Camron Feat. Memphis Bleek And Beenie Seigel,
Röyhkä ja Rättö ja Lehtisalo,
Moby Grape,
Basic Channel,
Bootsy's Rubber Band,
Porter Ricks,
Eden Ahbez,
The Sonics,
The New Christs,
The Shadows of Knight,
Gang Starr,
a-ha,
Ohio Players,
Liaisons Dangereuses,
John Holt, John Holt, John Holt, John Holt.
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.