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 Samoa and from Winnipeg.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1969 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Beijing.
I'm losing my edge to the art-school Mexico City 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 clarinet sounds with much patience.
I was there when Robert Palmer 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 Goldenarms to the rap 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 Kurtis Blow. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Ultramagnetic MC's record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Mars,
Donald Byrd,
Tears for Fears,
Ronan,
The Techniques,
Stiv Bators,
Au Pairs,
Yazoo,
Dead Boys,
Eurythmics,
The Raincoats,
Avey Tare,
Larry & the Blue Notes,
Donny Hathaway,
Frankie Knuckles,
The Selecter,
Cheater Slicks,
the Soft Cell,
The Gap Band,
Bill Wells,
Urselle,
The Blues Magoos,
Sun Ra,
Amon Düül II,
David McCallum,
Kurtis Blow,
Blossom Toes,
Blake Baxter,
Barclay James Harvest,
Sugar Minott,
Nation of Ulysses,
Newcleus,
Robert Hood,
Boredoms,
John Coltrane,
The Standells,
Japan,
Bob Dylan,
Average White Band,
Anakelly,
Easy Going,
Livin' Joy,
The Doors,
Jesper Dahlbäck,
A Flock of Seagulls,
Pharaoh Sanders and the Fire Engines,
Bronski Beat,
Moss Icon,
The Neon Judgement,
David Axelrod,
Sixth Finger,
The Grass Roots,
Grandmaster Flash and the Furious Five,
Liaisons Dangereuses,
Minutemen,
Wighnomy Brothers & Robag Wruhme,
Matthew Bourne,
Wire,
Public Enemy,
Little Man,
Kool G Rap & DJ Polo,
Anthony Braxton,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.