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 Yemen and from Toronto.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Portland and Woodstock.
I'm losing my edge to the art-school Bremen 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 mellotron 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 New Order to the punk kids.
I played it at Trash.
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 Electric Prunes. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every Junior Murvin 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 a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
Shuggie Otis,
The Alarm Clocks,
Danielle Patucci,
The Moleskins,
Kurtis Blow,
Roy Ayers Ubiquity,
Tears for Fears,
Jeru the Damaja,
Dark Day,
Sun City Girls,
The Velvet Underground,
Dual Sessions,
The Offenders,
Roy Ayers,
The Last Poets,
Bootsy Collins,
Altered Images,
Blake Baxter,
Big Daddy Kane,
Stereo Dub,
Donald Byrd,
Mo-Dettes,
Bill Near,
the Bar-Kays,
Marvin Gaye,
Cabaret Voltaire,
Captain Beefheart & His Magic Band,
Dorothy Ashby,
Pet Shop Boys,
Chrome,
Country Joe & The Fish,
Marc Almond,
The Gap Band,
The Count Five,
Jacques Brel,
The Doobie Brothers,
Kerri Chandler,
Gil Scott Heron,
Chris Corsano,
Fad Gadget,
Minny Pops,
The United States of America,
Heavy D & The Boyz,
Charles Mingus,
Morten Harket,
X-Ray Spex,
Smog,
Lalo Schifrin,
Qualms,
Freddie Wadling,
The Gories,
Depeche Mode,
Goldenarms,
Marmalade,
Steve Hackett,
Television Personalities,
The Saints,
Ralphi Rosario,
The Index,
It's A Beautiful Day,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.