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 Jamaica and from Milan.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
I'm losing my edge to the art-school Sao Paulo 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 spring reverb 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 Index to the rap 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 United States of America. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your oboe and bought a theremin.
I hear that you and your band have sold your theremin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiopuhelimet,
Thee Headcoats,
Tim Buckley,
The Busters,
Camron Feat. Memphis Bleek And Beenie Seigel,
Idris Muhammad,
The Tremeloes,
Rekid,
The Royal Family And The Poor,
Bush Tetras,
Barbara Tucker,
Cameo,
Urselle,
David Axelrod,
Au Pairs,
Technova,
Roy Ayers,
Lee Hazlewood,
Byron Stingily,
Oppenheimer Analysis,
Scientists,
Index,
Accadde A,
Half Japanese,
The Wake,
Eden Ahbez,
Tres Demented,
Lyres,
Lindisfarne,
Monolake,
Loose Ends,
Spandau Ballet,
Yazoo,
Thompson Twins,
Graham Central Station,
Trumans Water,
The Evens,
The Happenings,
Brass Construction,
Dave Gahan,
Section 25,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Captain Beefheart & His Magic Band,
the Fania All-Stars,
La Düsseldorf,
Sight & Sound,
Roger Hodgson,
Dorothy Ashby,
Scrapy,
Sarah Menescal,
Kaleidoscope,
Roy Ayers Ubiquity,
Severed Heads,
The New Christs,
The Divine Comedy,
Neu!,
Das Ding,
Gil Scott-Heron and Jamie xx,
Saccharine Trust,
World's Most,
Pantytec,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.