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 Somalia and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1974.
I'm losing my edge.
To all the kids in Taipei and Lyon.
I'm losing my edge to the art-school Manila 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 James Chance & The Contortions to the disco kids.
I played it at CBGB's.
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 Tom Boy. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every Manfred Mann's Earth Band 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Marine Girls,
Scratch Acid,
Joe Finger,
Flipper,
Fela Kuti,
Bang on a Can All-Stars,
Eric B and Rakim,
Carl Craig,
The Dead C,
Marmalade,
Glambeats Corp.,
The Gories,
The Saints,
Kenny Larkin,
Warsaw,
The Durutti Column,
Johnny Osbourne,
Sun Ra Arkestra,
Suicide,
Young Marble Giants,
New Age Steppers,
Radiohead,
The Flesh Eaters,
The Doors,
Qualms,
Alton Ellis,
Essential Logic,
Ralphi Rosario,
Throbbing Gristle,
Eric Copeland,
Joy Division,
Roxy Music,
Crispian St. Peters,
Laurel Aitken,
Camouflage,
Pere Ubu,
Dorothy Ashby,
Oneida,
a-ha,
Jacob Miller,
Gang Green,
London Community Gospel Choir,
Ronnie Foster,
Arthur Verocai,
The Walker Brothers,
Dennis Brown,
The Doobie Brothers,
Robert Görl,
Pete Rock & C.L. Smooth,
Cameo,
The United States of America,
The Chocolate Watch Band,
Aloha Tigers,
Siouxsie and the Banshees,
Mark Hollis,
Heavy D & The Boyz,
Amazonics,
Man Eating Sloth,
Freddie Wadling,
Neu!,
Lindisfarne, Lindisfarne, Lindisfarne, Lindisfarne.
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.