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 Greece and from Milan.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Spokane and Glasgow.
I'm losing my edge to the art-school Edmonton 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the arpeggiator 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 Drexciya to the dance kids.
I played it at Cafe Wha.
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 Move. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
A Flock of Seagulls,
Blossom Toes,
Pussy Galore,
Visionaries,LMNO, T- Love & Iriscience,
Severed Heads,
Dual Sessions,
Albert Ayler,
Eve St. Jones,
The Move,
The Black Dice,
Eric B and Rakim,
Aaron Thompson,
Robert Wyatt,
Moss Icon,
Monolake,
The Grass Roots,
Ultramagnetic MC's,
EPMD,
Smog,
Crime,
Sixth Finger,
Eddi Front,
the Soft Cell,
Grandmaster Flash and the Furious Five,
Kas Product,
China Crisis,
Rhythm & Sound,
Von Mondo,
Gil Scott-Heron & Brian Jackson,
Banda Bassotti,
Nils Olav,
Thee Headcoats,
Fluxion,
Arab on Radar,
Parry Music,
The Happenings,
Avey Tare & Kría Brekkan,
Boredoms,
Beasts of Bourbon,
The Evens,
Warren Ellis,
The Busters,
Bush Tetras,
Radiohead,
Faraquet,
Marc Romboy vs. Booka Shade,
10cc,
Heaven 17,
Lizzy Mercier Descloux,
Goldenarms,
Stereo Dub,
Ash Ra Tempel,
Sunsets and Hearts,
Pete Rock & C.L. Smooth,
The Barracudas,
The Walker Brothers,
Scrapy,
Pere Ubu,
Tim Buckley,
Fat Boys,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.