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 Iran and from Taipei.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Lyon and Bremen.
I'm losing my edge to the art-school Johannesburg 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 theremin 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 Quadrant 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 Chrome. All the underground hits.
All The Kinks tracks. I heard you have a vinyl of every Eddi Front record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Hoover record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
The Fire Engines,
Arthur Verocai,
Lalo Schifrin,
Gil Scott Heron,
Quadrant,
Roy Ayers Ubiquity,
the Sonics,
Dark Day,
Zero Boys,
The Walker Brothers,
Hardrive,
Oppenheimer Analysis,
London Community Gospel Choir,
Gong,
Marine Girls,
Soft Cell,
The Shadows of Knight,
U.S. Maple,
Howard Jones,
The Human League,
Warren Ellis,
Sly & The Family Stone,
The Sound,
a-ha,
Von Mondo,
Bill Near,
Moby Grape,
The Gories,
Desert Stars,
Tommy Roe,
Siouxsie and the Banshees,
Gregory Isaacs,
Ossler,
Gichy Dan,
Fluxion,
The Angels of Light,
Drexciya,
Accadde A,
Skaos,
The American Breed,
EPMD,
Janne Schatter,
Porter Ricks,
Rod Modell,
Cheater Slicks,
Scott Walker + Sunn O))),
The Star Department,
Hasil Adkins,
The Flesh Eaters,
Crispy Ambulance,
The Buckinghams,
Bang On A Can,
The Searchers,
Ultimate Spinach,
Symarip,
The Monochrome Set,
Dennis Brown,
Aswad,
Black Bananas,
The Busters,
Mary Jane Girls,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.