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 Argentina and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1970.
I'm losing my edge.
To all the kids in Paris and Woodstock.
I'm losing my edge to the art-school Toronto 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 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 Pharaoh Sanders and the Fire Engines to the techno kids.
I played it at the Astoria.
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 Unrelated Segments. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every Alton Ellis 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Kauko Röyhkä ja Narttu record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron 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 American Breed,
Kenny Larkin,
Country Teasers,
Juan Atkins,
The Associates,
Rhythm & Sound,
Letta Mbulu,
Angels of Light & Akron/Family,
June of 44,
Hashim,
Popol Vuh,
Agent Orange,
Johnny Osbourne,
Carl Craig,
Lou Reed,
World's Most,
Sad Lovers and Giants,
Toni Rubio,
Soft Cell,
Yellowson,
Johnny Clarke,
Adolescents,
Black Pus,
Tears for Fears,
Tom Boy,
Arab on Radar,
Fort Wilson Riot,
Soul Sonic Force,
Anthony Braxton,
Liliput,
Gang Gang Dance,
The Sound,
The Kinks,
Teenage Jesus and the Jerks,
Newcleus,
The Moleskins,
The Music Machine,
Mandrill,
Animal Collective,
X-101,
Moss Icon,
B.T. Express,
Aural Exciters,
The Dead C,
Pagans,
The Fortunes,
Todd Terry,
the Human League,
Morten Harket,
E-Dancer,
Notorious BIG live in Amsterdam,
Röyhkä ja Rättö ja Lehtisalo,
Manfred Mann's Earth Band,
Janne Schatter,
Barry Ungar,
Section 25,
The Young Rascals,
DJ Style,
Minnie Riperton,
Bobby Byrd,
PIL, PIL, PIL, PIL.
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.