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 Japan and from Johannesburg.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Tokyo and London.
I'm losing my edge to the art-school Bologna 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 Bob Dylan to the jazz kids.
I played it at the Crocodile.
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 Gang Starr. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mighty Diamonds,
The Tremeloes,
The Monochrome Set,
Shoche,
Technova,
Derrick May,
Average White Band,
Jesper Dahlback,
Alphaville,
Eden Ahbez,
Donald Byrd,
The Slackers,
Masters at Work,
Fort Wilson Riot,
The Happenings,
Bluetip,
Electric Prunes,
Moss Icon,
Tim Buckley,
Warsaw,
Nik Kershaw,
Nils Olav,
Steve Hackett,
John Holt,
Byron Stingily,
Accadde A,
Crispian St. Peters,
Joe Finger,
Art Ensemble Of Chicago,
The Real Kids,
The Sisters of Mercy,
Q and Not U,
The Music Machine,
Ultramagnetic MC's,
Pole,
Warren Ellis,
Absolute Body Control,
London Community Gospel Choir,
The Martian,
Supertramp,
B.T. Express,
Bush Tetras,
James White and The Blacks,
Wire,
Quadrant,
Eddi Front,
Mark Hollis,
Mary Jane Girls,
Man Parrish,
Scientists,
The Alarm Clocks,
Rakim,
The Golliwogs,
Electric Light Orchestra,
Jerry Gold Smith,
The Barracudas,
Popol Vuh,
The Black Dice,
The Divine Comedy,
Chris & Cosey,
Severed Heads,
Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade.
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.