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 Denmark and from Mumbai.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Johannesburg.
I'm losing my edge to the art-school Hong Kong 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 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 The Victims to the dance 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 Swans. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Sällskapet,
Crash Course in Science,
Eric B and Rakim,
Joey Negro,
Scientists,
Ludus,
New Age Steppers,
The Count Five,
Andrew Hill,
Lou Reed & John Cale,
Faust,
Roy Ayers,
Robert Görl,
the Soft Cell,
Be Bop Deluxe,
Marmalade,
Max Romeo,
Royal Trux,
Siouxsie and the Banshees,
Freddie Wadling,
MDC,
The Grass Roots,
Rekid,
Ronan,
The Human League,
Quando Quango,
Can,
Sam Rivers,
Malaria!,
Alphaville,
Blake Baxter,
Banda Bassotti,
The Gap Band,
The Trojans,
Tim Buckley,
Q65,
The Sonics,
Section 25,
Colin Newman,
The Men They Couldn't Hang,
Basic Channel,
Anthony Braxton,
Aswad,
Super Lover Cee & Casanova Rud,
Byron Stingily,
Shuggie Otis,
The Barracudas,
Whodini,
Gregory Isaacs,
Gil Scott Heron,
Derrick May,
Manfred Mann's Earth Band,
Juan Atkins,
Erykah Badu,
Ultravox,
Gang Starr,
Kauko Röyhkä ja Narttu,
Matthew Bourne,
The Chocolate Watch Band,
Maleditus Sound,
Neil Young & Crazy Horse,
Notorious Big And Bone Thugs,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.