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 Monaco and from Lagos.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Paris and Stockholm.
I'm losing my edge to the art-school Jakarta 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 1973 at the first Television practice in a loft in New York.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Techniques to the jazz kids.
I played it at the Spitz.
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 Five Americans. All the underground hits.
All Maurizio tracks. I heard you have a vinyl of every Dr. Dre and Snoop Doggy Dog 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 '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gastr Del Sol,
Toni Rubio,
Gian Franco Pienzio,
Minny Pops,
Soft Machine,
T.S.O.L.,
Ajijia Myrayebe,
The Cure,
Sarah Menescal,
Rufus Thomas,
The Associates,
Jacob Miller,
F. McDonald,
The Toasters,
Inner City,
One Last Wish,
Wire,
Rhythim Is Rhythim,
Barrington Levy,
Silicon Teens,
The Peanut Butter Conspiracy,
Zapp,
Depeche Mode,
James Chance & The Contortions,
Fela Kuti,
Skaos,
Jeru the Damaja,
Interpol,
Intrusion,
Japan,
Schoolly D,
Minor Threat,
Andrew Hill,
Young Marble Giants,
James White and The Blacks,
Eyeless In Gaza,
Masters at Work,
Das Ding,
Sugar Minott,
New Age Steppers,
Grey Daturas,
Bill Wells,
Notorious Big And Bone Thugs,
Deutsch Amerikanische Freundschaft,
the Sonics,
a-ha,
Prince Buster,
Surgeon,
The Angels of Light,
X-Ray Spex,
John Foxx,
Pagans,
The Names,
L. Decosne,
Black Bananas,
Electric Light Orchestra,
Livin' Joy,
Josef K,
The Real Kids,
Ronan,
Shoche,
The Seeds,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.