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 Belgium and from London.
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 1977.
I'm losing my edge.
To all the kids in Beijing and Manila.
I'm losing my edge to the art-school Salvador 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 Khruangbin to the electroclash kids.
I played it at the Hacienda.
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 Ash Ra Tempel. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Leaves record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Royal Family And The Poor,
Harpers Bizarre,
48th St. Collective,
Loose Ends,
AZ,
Susan Cadogan,
MDC,
Saccharine Trust,
Marshall Jefferson,
One Last Wish,
Nas,
Lee Hazlewood,
Strawberry Alarm Clock,
Schoolly D,
Lou Reed & John Cale,
Absolute Body Control,
Rapeman,
London Community Gospel Choir,
Tears for Fears,
the Sonics,
Marvin Gaye,
Fear,
Scott Walker,
Kool G Rap & DJ Polo,
Bobby Byrd,
The Blues Magoos,
Fluxion,
Cymande,
Bauhaus,
Public Enemy,
The Blackbyrds,
Ten City,
Masters at Work,
Camouflage,
Bob Dylan,
Japan,
Blancmange,
Technova,
Maleditus Sound,
Ornette Coleman,
The Raincoats,
Delta 5,
Delon & Dalcan,
Donny Hathaway,
Barrington Levy,
Hasil Adkins,
Pulsallama,
Icehouse,
The Grass Roots,
Country Joe & The Fish,
Orchestral Manoeuvres in the Dark,
Al Stewart,
The Smiths,
Flamin' Groovies,
Unrelated Segments,
Faraquet,
K-Klass,
Fifty Foot Hose,
A Flock of Seagulls,
Eve St. Jones,
Terror Squad Feat. Camron,
Moby Grape, Moby Grape, Moby Grape, Moby Grape.
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.