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 Slovakia and from Tehran.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Spokane and Mexico City.
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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Peter and Kerry to the disco kids.
I played it at the Roxy.
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 Five Americans. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every Gabor Szabo 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Babytalk record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
Brothers Johnson,
These Immortal Souls,
Morten Harket,
Skaos,
Scion,
Susan Cadogan,
Max Romeo,
Mark Hollis,
Don Cherry,
Jerry Gold Smith,
Wally Richardson,
Pete Rock & C.L. Smooth,
Country Joe & The Fish,
Lou Reed & Metallica,
David McCallum,
Barbara Tucker,
Letta Mbulu,
Procol Harum,
The Sound,
Fluxion,
The Stooges,
Niagra,
Harry Pussy,
Loose Ends,
Nick Fraelich,
The Smiths,
Kauko Röyhkä ja Narttu,
Rapeman,
Soft Cell,
Masters at Work,
Matthew Bourne,
Curtis Mayfield,
Beasts of Bourbon,
Derrick Morgan,
The Happenings,
Sam Rivers,
Glambeats Corp.,
The Real Kids,
Crispy Ambulance,
T. Rex,
Radio Birdman,
PIL,
Bootsy Collins,
Robert Görl,
Vaughan Mason & Crew,
Theoretical Girls,
Ludus,
Bauhaus,
Organ,
Silicon Teens,
Skriet,
Reuben Wilson,
Piero Umiliani,
Johnny Clarke,
Kool G Rap & DJ Polo,
Flash Fearless,
Saccharine Trust,
F. McDonald,
The Zeros,
The Moody Blues, The Moody Blues, The Moody Blues, The Moody Blues.
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.