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 Algeria and from Johannesburg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Manila.
I'm losing my edge to the art-school Jakarta 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 spring reverb 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 Sixth Finger to the electroclash 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 Ludus. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every David Bowie record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Camouflage,
Heavy D & The Boyz,
Fad Gadget,
Japan,
The Martian,
London Community Gospel Choir,
John Coltrane,
Letta Mbulu,
Jandek,
Kevin Saunderson,
The New Christs,
the Sonics,
Roxette,
Maleditus Sound,
The Cosmic Jokers,
Dennis Brown,
Slick Rick,
The West Coast Pop Art Experimental Band,
Josef K,
Loose Ends,
The Barracudas,
Johnny Osbourne,
Dorothy Ashby,
Rhythm & Sound,
Motorama,
Vaughan Mason & Crew,
the Bar-Kays,
Lou Christie,
Avey Tare's Slasher Flicks,
Mars,
Andrew Ashong & Theo Parrish,
New York Dolls,
DeepChord presents Echospace,
The Divine Comedy,
Quantec,
Symarip,
Minnie Riperton,
Yusef Lateef,
Angry Samoans,
Zero Boys,
Pharaoh Sanders and the Fire Engines,
Sex Pistols,
The Music Machine,
The Saints,
Jesper Dahlbäck,
Kauko Röyhkä ja Narttu,
The Dead C,
Johnny Clarke,
Rhythim Is Rhythim,
Barbara Tucker,
Leonard Cohen,
Maurizio,
Mark Hollis,
T. Rex,
Peter & Gordon,
kango's stein massive,
The Misunderstood,
The Wake,
Stereo Dub,
Make Up,
The Gladiators,
Barrington Levy,
Neu!,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.