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 Brazil 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 1961 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Manila.
I'm losing my edge to the art-school Houston 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 1968 at the first Can practice in a loft in Cologne.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 The Fugs to the funk kids.
I played it at the Hacienda.
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 The Fuzztones. All the underground hits.
All Teenage Jesus and the Jerks tracks. I heard you have a vinyl of every Roy Ayers Ubiquity record on German import.
I heard that you have a white label of every seminal rap 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 an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Cybotron record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
Crash Course in Science,
Louis and Bebe Barron,
The Moody Blues,
Johnny Clarke,
Mad Mike,
The Saints,
Can,
Agitation Free,
Theoretical Girls,
Neil Young & Crazy Horse,
Echo & the Bunnymen,
L. Decosne,
Dawn Penn,
Gregory Isaacs,
Gabor Szabo,
Deakin,
Bootsy's Rubber Band,
Piero Umiliani,
Minutemen,
Kevin Saunderson,
Davy DMX,
The Fortunes,
Gil Scott Heron,
Sällskapet,
Banda Bassotti,
The Searchers,
Grandmaster Flash and the Furious Five,
Scientists,
Juan Atkins,
The Motions,
Scion,
Jacques Brel,
Tomorrow,
The Gladiators,
The Fuzztones,
Kenny Larkin,
Lindisfarne,
Make Up,
Major Organ And The Adding Machine,
10cc,
Depeche Mode,
Jeru the Damaja,
Visage,
Average White Band,
Justin Hinds & The Dominoes,
The Music Machine,
Girls At Our Best!,
FM Einheit,
X-Ray Spex,
the Association,
Bill Wells,
Lightning Bolt,
JFA,
Pere Ubu,
Lee Hazlewood,
Barbara Tucker,
Letta Mbulu,
Glambeats Corp.,
Fear,
John Holt,
Moby Grape, Moby Grape, Moby Grape, Moby Grape.
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.