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 Liechtenstein and from Delhi.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Madrid and Edmonton.
I'm losing my edge to the art-school Manila 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 theremin 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 Bootsy Collins to the punk kids.
I played it at the Astoria.
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 Louis and Bebe Barron. All the underground hits.
All Eric B and Rakim tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your guitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Godley & Creme,
Chrome,
Marc Almond,
Selector Dub Narcotic,
Pylon,
Scion,
Dark Day,
Dawn Penn,
Albert Ayler,
Trumans Water,
Gil Scott Heron,
Con Funk Shun,
Rekid,
Stetsasonic,
Heaven 17,
The Divine Comedy,
Brass Construction,
The Trojans,
Icehouse,
Patti Smith,
Oneida,
Avey Tare,
Black Bananas,
Das Ding,
The Misunderstood,
Pete Rock & C.L. Smooth,
the Soft Cell,
Minor Threat,
Minny Pops,
Rapeman,
Orchestral Manoeuvres in the Dark,
Aaron Thompson,
Jesper Dahlback,
Franke,
Rakim,
Lalann,
Rhythm & Sound,
Circle Jerks,
Stiv Bators,
Niagra,
Howard Jones,
R.M.O.,
The Victims,
Tim Buckley,
Terry Callier,
Clear Light,
Hashim,
Kenny Larkin,
D'Angelo,
Darondo,
Judy Mowatt,
Crash Course in Science,
Man Parrish,
Brick,
Echo & the Bunnymen,
Sly & The Family Stone,
Lou Reed & Metallica,
Jacob Miller,
Larry & the Blue Notes,
Ituana,
The Martian,
The Chocolate Watch Band,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.