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 Austria and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Manila and Mumbai.
I'm losing my edge to the art-school Bologna 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 marimba 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 Soft Machine to the grime 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 Laurel Aitken. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amazonics,
Thinking Fellers Union Local 282,
Shoche,
MDC,
Hashim,
Ronan,
Max Romeo,
Sly & The Family Stone,
Siouxsie and the Banshees,
Pulsallama,
Eve St. Jones,
Dave Gahan,
Flipper,
Nas,
Fugazi,
Tim Buckley,
Con Funk Shun,
The Modern Lovers,
La Düsseldorf,
Soft Cell,
Steve Hackett,
Spandau Ballet,
Crash Course in Science,
Scion,
Cal Tjader,
Freddie Wadling,
48th St. Collective,
Ituana,
Sandy B,
Dorothy Ashby,
Strawberry Alarm Clock,
Jeff Mills,
UT,
Wighnomy Brothers & Robag Wruhme,
Bobby Hutcherson,
Faraquet,
Kayak,
Danielle Patucci,
the Association,
the Bar-Kays,
Gang Gang Dance,
Cluster,
Howard Jones,
Jeru the Damaja,
The Red Krayola,
Dark Day,
Kango’s Stein Massive,
Marc Almond,
Roger Hodgson,
The Cure,
Barry Ungar,
Negative Approach,
Hardrive,
June Days,
The Slits,
The Dirtbombs,
Man Eating Sloth,
Visage,
Stockholm Monsters,
Barrington Levy,
Donny Hathaway,
Jacob Miller,
Unrelated Segments,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.