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 Namibia and from Hong Kong.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Taipei.
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 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 The Jesus and Mary Chain to the jazz kids.
I played it at Cafe Wha.
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 Brass Construction. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Aaron Thompson record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
The Names,
Susan Cadogan,
The Trojans,
Sun Ra Arkestra,
Nico,
Barclay James Harvest,
Sad Lovers and Giants,
Barrington Levy,
Minnie Riperton,
Avey Tare & Kría Brekkan,
Suicide,
Fifty Foot Hose,
Glenn Branca,
Das Ding,
A Certain Ratio,
Vainqueur,
Guru Guru,
Erasure,
Eyeless In Gaza,
Notorious BIG live in Amsterdam,
The Offenders,
Man Parrish,
John Foxx,
Lou Christie,
The Jesus and Mary Chain,
The Moody Blues,
The Last Poets,
The Saints,
Mad Mike,
Grauzone,
The Durutti Column,
Wings,
The Fortunes,
The Doobie Brothers,
Reagan Youth,
Kas Product,
Jacques Brel,
The Monochrome Set,
The Barracudas,
Isaac Hayes,
Deutsch Amerikanische Freundschaft,
The Smoke,
The Grass Roots,
Television,
The Martian,
Gregory Isaacs,
The Dead C,
Danielle Patucci,
Big Daddy Kane,
Severed Heads,
FM Einheit,
H. Thieme,
The Flesh Eaters,
Donny Hathaway,
Slick Rick,
Max Romeo,
The Men They Couldn't Hang,
Terrestrial Tones,
Blake Baxter,
Gary Puckett & The Union Gap,
Parry Music, Parry Music, Parry Music, Parry Music.
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.