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 United States and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Bologna and Seoul.
I'm losing my edge to the art-school Calgary 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 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 Dark Day to the punk 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 The Chocolate Watch Band. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every D'Angelo 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 '80s.
I hear you're buying a snare and a harpsichord 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 guitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
James White and The Blacks,
Crash Course in Science,
Kaleidoscope,
La Düsseldorf,
Grandmaster Flash and the Furious Five,
Wolf Eyes,
The Motions,
Gerry Rafferty,
Oppenheimer Analysis,
Rakim,
Juan Atkins,
Kevin Saunderson,
Can,
Yazoo,
Gang of Four,
Massinfluence,
Janne Schatter,
Lalo Schifrin,
Camouflage,
T. Rex,
Sparks,
The Invisible,
Kauko Röyhkä ja Narttu,
John Coltrane,
Röyhkä ja Rättö ja Lehtisalo,
The Slackers,
The Fire Engines,
Pylon,
Bush Tetras,
Black Bananas,
Make Up,
Frankie Knuckles,
Rowland S Howard / Lydia Lunch,
Manfred Mann's Earth Band,
The American Breed,
Archie Shepp,
Yellowson,
Jeru the Damaja,
Grauzone,
Skriet,
The Litter,
Soft Machine,
cv313,
Adolescents,
Kurtis Blow,
The Real Kids,
Tropical Tobacco,
The Selecter,
Al Stewart,
Television,
the Normal,
48th St. Collective,
Barry Ungar,
Jacob Miller,
Scrapy,
Magazine,
The Pop Group,
Beasts of Bourbon,
Laurel Aitken,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.