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 Dominica and from Lyon.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Toronto.
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 Captain Beefheart 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 ABC to the techno kids.
I played it at CBGB's.
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 Alison Limerick. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Ralphi Rosario record on German import.
I heard that you have a white label of every seminal crunk 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 guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
The Music Machine,
Soft Machine,
Pulsallama,
Urselle,
Goldenarms,
T. Rex,
The Beau Brummels,
Blossom Toes,
Sun City Girls,
The Smiths,
The Slits,
Chris Corsano,
Echo & the Bunnymen,
Livin' Joy,
The West Coast Pop Art Experimental Band,
The Gories,
Larry & the Blue Notes,
Scion,
The Pop Group,
The J.B.'s,
Mad Mike,
The Mummies,
Liaisons Dangereuses,
London Community Gospel Choir,
Hasil Adkins,
The Residents,
The Fugs,
Maurizio,
Von Mondo,
The Selecter,
The Move,
Ajijia Myrayebe,
The Happenings,
Black Pus,
Swans,
Supertramp,
Bobby Byrd,
Intrusion,
Ultramagnetic MC's,
Sandy B,
Soul II Soul,
Sexual Harrassment,
Sun Ra Arkestra,
Rites of Spring,
Nation of Ulysses,
Jacob Miller,
Kings Of Tomorrow,
Danielle Patucci,
The Gap Band,
Gerry Rafferty,
Lou Reed & Metallica,
Agent Orange,
La Düsseldorf,
Lower 48,
Marine Girls,
Khruangbin,
Godley & Creme,
A Flock of Seagulls,
Lindisfarne,
Deutsch Amerikanische Freundschaft,
Marshall Jefferson,
The Index,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.