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 Djibouti and from New York.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Jakarta.
I'm losing my edge to the art-school Stockholm 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 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 Smiths to the electroclash 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 Mandrill. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Cecil Taylor record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Quantec record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Pantytec,
The Velvet Underground,
Grauzone,
Amon Düül II,
It's A Beautiful Day,
Kurtis Blow,
Deutsch Amerikanische Freundschaft,
Lightning Bolt,
The Names,
John Lydon,
Ronan,
A Flock of Seagulls,
Roy Ayers,
China Crisis,
Essential Logic,
MC5,
Angry Samoans,
Lungfish,
Rufus Thomas,
Public Enemy,
Scratch Acid,
Drive Like Jehu,
Jeff Mills,
Nico,
Orchestral Manoeuvres in the Dark,
Clear Light,
Derrick May,
Colin Newman,
The Evens,
The Knickerbockers,
Aloha Tigers,
Cabaret Voltaire,
Thee Headcoats,
Gang Green,
Das Ding,
the Fania All-Stars,
The Buckinghams,
The Seeds,
Andrew Hill,
Gichy Dan,
Leonard Cohen,
Sunsets and Hearts,
Eden Ahbez,
Vladislav Delay,
Rotary Connection,
UT,
the Sonics,
Sight & Sound,
Jandek,
The Pop Group,
Funky Four + One,
Al Stewart,
Hoover,
The Young Rascals,
The Real Kids,
The Raincoats,
The Fuzztones,
Neil Young & Crazy Horse,
The Blackbyrds,
The Motions,
Zapp, Zapp, Zapp, Zapp.
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.