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 Cyprus and from Edmonton.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 Beijing and Philadelphia.
I'm losing my edge to the art-school Lagos 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 linndrum sounds with much patience.
I was there when David Bowie 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 Lalann to the jazz kids.
I played it at the Spitz.
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 Mark Hollis. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal grime 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 theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Steve Hackett,
Louis and Bebe Barron,
John Coltrane,
The Seeds,
Chris & Cosey,
Duran Duran,
Jesper Dahlbäck,
The Invisible,
Cymande,
Stockholm Monsters,
ABBA,
Minnie Riperton,
Kurtis Blow,
Ornette Coleman,
The Gap Band,
The Five Americans,
Surgeon,
Radio Birdman,
Gil Scott-Heron and Jamie xx,
Visionaries,LMNO, T- Love & Iriscience,
The Techniques,
Jimmy McGriff,
X-101,
Dark Day,
Mary Jane Girls,
Fort Wilson Riot,
Crime,
Hasil Adkins,
Toni Rubio,
Wighnomy Brothers & Robag Wruhme,
Tom Boy,
Lalo Schifrin,
Minny Pops,
Lalann,
Lizzy Mercier Descloux,
Sight & Sound,
Minutemen,
Michelle Simonal,
Radiopuhelimet,
Quando Quango,
Funky Four + One,
The Black Dice,
Chris Corsano,
Little Man,
Babytalk,
The Doobie Brothers,
Teenage Jesus and the Jerks,
The Gladiators,
Nirvana,
Fugazi,
Jeru the Damaja,
Nik Kershaw,
Pharaoh Sanders and the Fire Engines,
Moby Grape,
Moebius,
Boredoms,
ABC,
Wolf Eyes,
Trumans Water,
Jacques Brel,
Organ,
Bootsy's Rubber Band,
Eric Copeland,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.