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 Netherlands and from Philadelphia.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1976.
I'm losing my edge.
To all the kids in Cairo and Hong Kong.
I'm losing my edge to the art-school Copenhagen 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 harpsichord 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 Tim Buckley to the grime 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 Eurythmics. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every The Gladiators record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Sherman record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sexual Harrassment,
Popol Vuh,
Roger Hodgson,
Subhumans,
Sam Rivers,
Bizarre Inc.,
Anakelly,
The Evens,
The Toasters,
Leonard Cohen,
Stereo Dub,
K-Klass,
Funkadelic,
Gang Green,
Girls At Our Best!,
Brass Construction,
Fatback Band,
Camberwell Now,
Rakim,
Cluster,
Hasil Adkins,
The Electric Prunes,
Delon & Dalcan,
Sandy B,
Guru Guru,
Peter Gordon & Love of Life Orchestra,
Visionaries,LMNO, T- Love & Iriscience,
L. Decosne,
Crime,
Bootsy's Rubber Band,
Steve Hackett,
Massinfluence,
FM Einheit,
The Smoke,
Gang of Four,
Motorama,
The Motions,
The Skatalites,
Ponytail,
Donny Hathaway,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Bauhaus,
Fat Boys,
Schoolly D,
The Pop Group,
Mars,
Black Moon,
Ken Boothe,
Pierre Henry,
Vaughan Mason & Crew,
John Cale,
F. McDonald,
Spandau Ballet,
Liliput,
The New Christs,
Warren Ellis,
The Techniques,
Loose Ends,
Jimmy McGriff,
The Martian,
Los Fastidios,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.