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 Fiji and from Accra.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Tehran.
I'm losing my edge to the art-school Toronto 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 guitar sounds with much patience.
I was there when Holger Czukay 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 Crash Course in Science to the dance 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 The Litter. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Oblivians record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
10cc,
The Flesh Eaters,
The Doors,
F. McDonald,
Maleditus Sound,
Fad Gadget,
Vainqueur,
Orchestral Manoeuvres in the Dark,
Barbara Tucker,
Matthew Bourne,
Ultramagnetic MC's,
Sällskapet,
Clear Light,
The Victims,
Suburban Knight,
the Normal,
Guru Guru,
Kaleidoscope,
Erykah Badu,
Ohio Players,
X-101,
David Axelrod,
Brass Construction,
Pete Rock & C.L. Smooth,
Audionom,
UT,
Rotary Connection,
the Soft Cell,
The Residents,
Lou Reed,
Todd Rundgren,
Simply Red,
Derrick May,
The Litter,
Deadbeat,
The Leaves,
Junior Murvin,
Bluetip,
Ken Boothe,
The Neon Judgement,
JFA,
The Moleskins,
The Pretty Things,
Moby Grape,
Mission of Burma,
E-Dancer,
Mad Mike,
Eli Mardock,
Pylon,
Scion,
Eyeless In Gaza,
Flipper,
DJ Sneak,
Public Enemy,
Tears for Fears,
Rahsaan Roland Kirk,
Tubeway Army,
Oneida,
Tropical Tobacco,
Gary Puckett & The Union Gap,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.