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 Bhutan and from Bologna.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1979.
I'm losing my edge.
To all the kids in Bremen and Beijing.
I'm losing my edge to the art-school Tokyo 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 oboe sounds with much patience.
I was there when Donald Fagen 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 Electric Light Orchestra to the electroclash kids.
I played it at CBGB's.
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 La Düsseldorf. All the underground hits.
All Monks tracks. I heard you have a vinyl of every Juan Atkins record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
Delta 5,
Sam Rivers,
Reagan Youth,
Jeff Lynne,
Joe Smooth,
The Sound,
Brass Construction,
Hot Snakes,
Jacques Brel,
Alton Ellis,
Icehouse,
Cal Tjader,
Crispian St. Peters,
Sun City Girls,
MDC,
the Normal,
Q and Not U,
The Toasters,
Electric Light Orchestra,
Peter and Kerry,
Fugazi,
Rufus Thomas,
The Seeds,
Boogie Down Productions,
Erykah Badu,
The Happenings,
Thinking Fellers Union Local 282,
James Chance & The Contortions,
Pantaleimon,
Nation of Ulysses,
Susan Cadogan,
The Techniques,
The Leaves,
Babytalk,
Unwound,
Notorious Big And Bone Thugs,
JFA,
The Sonics,
Ronnie Foster,
Sunsets and Hearts,
DNA,
Larry & the Blue Notes,
Selector Dub Narcotic,
Faust,
The Velvet Underground,
Nas,
Adolescents,
John Holt,
Kerrie Biddell,
World's Most,
Jeru the Damaja,
Groovy Waters,
Banda Bassotti,
Sonny Sharrock,
Los Fastidios,
the Fania All-Stars,
The Victims,
Brothers Johnson,
La Düsseldorf,
Monolake,
The Alarm Clocks,
Bobby Byrd,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.