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 Luxembourg and from Bremen.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1975.
I'm losing my edge.
To all the kids in Jakarta and Toronto.
I'm losing my edge to the art-school Copenhagen 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 guitar 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 Kenny Larkin to the grime 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 Loose Ends. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every Gary Puckett & The Union Gap record on German import.
I heard that you have a white label of every seminal dance 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 oboe and a spring reverb 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 snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Lakeside,
Roy Ayers,
The United States of America,
a-ha,
The Pretty Things,
Faust,
Surgeon,
Peter Gordon & Love of Life Orchestra,
The Monochrome Set,
Marvin Gaye,
Davy DMX,
Crooked Eye,
The Selecter,
Jeru the Damaja,
Parry Music,
Maurizio,
La Düsseldorf,
Todd Terry,
Delon & Dalcan,
Young Marble Giants,
The Shadows of Knight,
Prince Buster,
The Zeros,
Minutemen,
Wally Richardson,
The Cramps,
the Germs,
DJ Style,
Main Source,
Make Up,
Sun Ra Arkestra,
Slick Rick,
Accadde A,
Guru Guru,
The West Coast Pop Art Experimental Band,
Barry Ungar,
Stetsasonic,
In Retrospect,
The Trojans,
The Detroit Cobras,
the Human League,
Bobby Byrd,
Trumans Water,
Ultramagnetic MC's,
Ultravox,
Inner City,
Harry Pussy,
Liliput,
Kings Of Tomorrow,
Teenage Jesus and the Jerks,
Scratch Acid,
Fluxion,
Interpol,
Jesper Dahlbäck,
John Holt,
Ponytail,
Minny Pops,
Grauzone,
Rites of Spring,
Livin' Joy,
Black Flag,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.