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 Malawi and from Accra.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Bologna and Shanghai.
I'm losing my edge to the art-school Bologna 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Count Five to the disco kids.
I played it at the Troubador.
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 Blake Baxter. All the underground hits.
All Bluetip tracks. I heard you have a vinyl of every Quando Quango 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 '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Lou Reed & John Cale,
The Monks,
Robert Hood,
Tom Boy,
The Mojo Men,
Scratch Acid,
Pylon,
Sex Pistols,
It's A Beautiful Day,
Ronnie Foster,
Eli Mardock,
Black Moon,
The Young Rascals,
Gian Franco Pienzio,
Joyce Sims,
The Fire Engines,
Bizarre Inc.,
Brand Nubian,
Ralphi Rosario,
DJ Sneak,
The Real Kids,
Interpol,
Eurythmics,
The Techniques,
Stereo Dub,
Pere Ubu,
China Crisis,
Infiniti,
Gong,
Mad Mike,
Eric B and Rakim,
Absolute Body Control,
Max Romeo,
Harry Pussy,
Avey Tare,
Visage,
Bronski Beat,
Oblivians,
Patti Smith,
Dennis Brown,
Ronan,
Peter Gordon & Love of Life Orchestra,
Letta Mbulu,
Organ,
Lower 48,
The Shadows of Knight,
Fluxion,
The Cosmic Jokers,
Bang on a Can All-Stars,
Silicon Teens,
Andrew Hill,
Flash Fearless,
Kenny Larkin,
Alison Limerick,
Fear,
The Doobie Brothers,
Bad Manners,
Warren Ellis,
Kango’s Stein Massive,
Gang of Four,
La Düsseldorf,
The Star Department,
Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme.
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.