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 Comoros and from Johannesburg.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Seoul and Shanghai.
I'm losing my edge to the art-school Bremen 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 1976 at the first Chic practice in a loft in New York.
I was working on the sitar 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 The Walker Brothers to the jazz 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 The Names. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every The Smoke 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 a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Tubeway Army record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Freddie Wadling,
Cal Tjader,
Can,
Dawn Penn,
Flamin' Groovies,
Alice Coltrane,
Ultravox,
Robert Görl,
The Men They Couldn't Hang,
The Detroit Cobras,
Minor Threat,
Gil Scott-Heron and Jamie xx,
Lee Hazlewood,
Joy Division,
Jesper Dahlback,
Ice-T,
The Techniques,
The Jesus and Mary Chain,
Make Up,
Angels of Light & Akron/Family,
Joe Smooth,
Marshall Jefferson,
Marine Girls,
Clear Light,
The Divine Comedy,
Gichy Dan,
Lizzy Mercier Descloux,
Bang On A Can,
Slave,
Eyeless In Gaza,
John Holt,
Colin Newman,
Kenny Larkin,
In Retrospect,
The Gun Club,
Radiopuhelimet,
R.M.O.,
Young Marble Giants,
The Evens,
The Toasters,
Lou Reed,
Deakin,
K-Klass,
Curtis Mayfield,
Barrington Levy,
Davy DMX,
Malaria!,
Selector Dub Narcotic,
The Moody Blues,
Donald Byrd,
John Foxx,
DJ Style,
Adolescents,
Suburban Knight,
Andrew Hill,
The Gladiators,
Arab on Radar,
Crispy Ambulance,
Gang Gang Dance,
Warsaw,
Lucky Dragons,
Rod Modell,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.