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 Rwanda and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
I'm losing my edge to the art-school Glasgow 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 arpeggiator 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 Gong to the techno kids.
I played it at the 40 Watt.
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 Quadrant. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Colin Newman 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 '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
Tubeway Army,
Lee Hazlewood,
Gian Franco Pienzio,
Röyhkä ja Rättö ja Lehtisalo,
Q65,
Rosa Yemen,
Das Ding,
Ultramagnetic MC's,
Kings Of Tomorrow,
Schoolly D,
Heavy D & The Boyz,
Eric Dolphy,
ABBA,
Rahsaan Roland Kirk,
Notorious BIG live in Amsterdam,
Avey Tare,
Saccharine Trust,
The Selecter,
Crispian St. Peters,
Desert Stars,
Liaisons Dangereuses,
Cabaret Voltaire,
Archie Shepp,
Cheater Slicks,
The Monochrome Set,
New Order,
Kevin Saunderson,
The Index,
Ituana,
Sad Lovers and Giants,
Delta 5,
Smog,
Gichy Dan,
The Saints,
The Vogues,
New York Dolls,
Barrington Levy,
Sexual Harrassment,
Bauhaus,
Flamin' Groovies,
Aaron Thompson,
Au Pairs,
Black Moon,
The Searchers,
Excepter,
The Electric Prunes,
Gang Starr,
the Fania All-Stars,
The Human League,
Pole,
Depeche Mode,
Marmalade,
Cymande,
Wolf Eyes,
Ten City,
Johnny Osbourne,
Godley & Creme,
The Sonics,
Kayak,
K-Klass,
Louis and Bebe Barron,
The Blackbyrds,
Barbara Tucker, Barbara Tucker, Barbara Tucker, Barbara Tucker.
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.