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 Ukraine and from New York.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Cairo.
I'm losing my edge to the art-school Madrid 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 spring reverb 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 Brick to the disco 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 Shoche. All the underground hits.
All Harmonia tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
Glambeats Corp.,
Curtis Mayfield,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sam Rivers,
Teenage Jesus and the Jerks,
Cal Tjader,
Tim Buckley,
Fad Gadget,
The Mummies,
Scion,
The Searchers,
Circle Jerks,
Gichy Dan,
JFA,
Black Flag,
Albert Ayler,
Donny Hathaway,
Minor Threat,
Major Organ And The Adding Machine,
Nils Olav,
Bootsy's Rubber Band,
Chris & Cosey,
Angels of Light & Akron/Family,
Lalann,
Mandrill,
Matthew Halsall,
The Buckinghams,
Jacques Brel,
Darondo,
Wally Richardson,
The New Christs,
La Düsseldorf,
The Jesus and Mary Chain,
Chrome,
The Mojo Men,
Banda Bassotti,
The Cosmic Jokers,
Technova,
The United States of America,
The Fugs,
Drive Like Jehu,
Althea and Donna,
The Saints,
Sad Lovers and Giants,
Sandy B,
Beasts of Bourbon,
EPMD,
Don Cherry,
Nico,
A Flock of Seagulls,
Crooked Eye,
Deadbeat,
In Retrospect,
Wolf Eyes,
Moss Icon,
Howard Jones,
Ultra Naté,
The Seeds,
Gerry Rafferty,
Average White Band,
Radiopuhelimet,
Lalo Schifrin,
Crispian St. Peters,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.