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 Kuwait and from Copenhagen.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Salvador.
I'm losing my edge to the art-school Lagos 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 linndrum sounds with much patience.
I was there when David Bowie 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 David Bowie to the techno 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 The Blues Magoos. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yusef Lateef,
Kango’s Stein Massive,
Shoche,
ABBA,
Josef K,
Pagans,
The Techniques,
Second Layer,
Inner City,
The Five Americans,
Arcadia,
Larry & the Blue Notes,
Parry Music,
Sonic Youth,
Barrington Levy,
The Monochrome Set,
David Bowie,
Arthur Verocai,
Notorious BIG live in Amsterdam,
Jacques Brel,
Surgeon,
Ice-T,
Lucky Dragons,
Cymande,
Andrew Hill,
Severed Heads,
Davy DMX,
Infiniti,
Donald Byrd,
It's A Beautiful Day,
Soft Cell,
The Gun Club,
Kayak,
Skarface,
Eli Mardock,
Ultra Naté,
Moby Grape,
Cameo,
Nils Olav,
Al Stewart,
A Certain Ratio,
Pylon,
Roger Hodgson,
Pharaoh Sanders and the Fire Engines,
Sun Ra Arkestra,
Electric Prunes,
Essential Logic,
Sight & Sound,
The Smiths,
Kaleidoscope,
Hashim,
Technova,
Neu!,
Lee Hazlewood,
Alice Coltrane,
Kauko Röyhkä ja Narttu,
Lower 48,
Alison Limerick,
Mark Hollis,
X-102,
Kerrie Biddell,
The Red Krayola,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.