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 Rwanda and from Shanghai.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1978.
I'm losing my edge.
To all the kids in Tokyo and Philadelphia.
I'm losing my edge to the art-school Mexico City 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 World's Most to the jazz kids.
I played it at the 40 Watt.
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 Robert Wyatt. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Lucky Dragons 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Fad Gadget record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Terrestrial Tones,
Orchestral Manoeuvres in the Dark,
The Saints,
Faraquet,
Eyeless In Gaza,
The Golliwogs,
Janne Schatter,
The Names,
Letta Mbulu,
Little Man,
The Alarm Clocks,
Sixth Finger,
Shoche,
Erasure,
Grauzone,
Alton Ellis,
Young Marble Giants,
Sparks,
The Busters,
Thinking Fellers Union Local 282,
Sly & The Family Stone,
Roy Ayers Ubiquity,
Gong,
Boogie Down Productions,
Outsiders,
Ultimate Spinach,
Ash Ra Tempel,
Harmonia,
Audionom,
Bill Wells,
Althea and Donna,
the Association,
Pharoah Sanders,
Ornette Coleman,
the Sonics,
The Dirtbombs,
Visage,
Brick,
Hasil Adkins,
Faust,
The Seeds,
Swans,
Tropical Tobacco,
Michelle Simonal,
The Invisible,
The Happenings,
Zapp,
Radiopuhelimet,
Ice-T,
The Red Krayola,
Dennis Brown,
Johnny Osbourne,
Robert Wyatt,
The Gories,
Cecil Taylor,
Lebanon Hanover,
Jeff Mills,
The Cure,
Jesper Dahlbäck,
Yazoo, Yazoo, Yazoo, Yazoo.
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.