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 Mexico and from Tehran.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Milan and Manila.
I'm losing my edge to the art-school Milan 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord 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 A Flock of Seagulls to the rap 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 Harmonia. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Zero Boys record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Cabaret Voltaire,
David McCallum,
Procol Harum,
the Swans,
Oppenheimer Analysis,
Michelle Simonal,
K-Klass,
Lou Reed & Metallica,
Deepchord,
Half Japanese,
Soulsonic Force,
Man Parrish,
The Cramps,
The Mighty Diamonds,
La Düsseldorf,
Flamin' Groovies,
The Blues Magoos,
Tom Boy,
Underground Resistance,
The Sonics,
It's A Beautiful Day,
Jesper Dahlback,
Cymande,
Inner City,
London Community Gospel Choir,
Faraquet,
Shoche,
Alton Ellis,
Marmalade,
Niagra,
Todd Rundgren,
Roxy Music,
The Techniques,
Tears for Fears,
John Cale,
Barbara Tucker,
Sparks,
Scientists,
Bad Manners,
Rites of Spring,
The Moody Blues,
The Busters,
the Germs,
FM Einheit,
Masters at Work,
Big Daddy Kane,
Jesper Dahlbäck,
Youth Brigade,
The Pretty Things,
Echospace,
The Dirtbombs,
Altered Images,
The Velvet Underground,
Magazine,
EPMD,
Black Bananas,
Crime,
Slick Rick,
Simply Red,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.