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 Austria and from Manila.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1977.
I'm losing my edge.
To all the kids in Beijing and Sao Paulo.
I'm losing my edge to the art-school New York 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 H. Thieme to the electroclash 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 Aloha Tigers. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every The Royal Family And The Poor record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Scientists,
Robert Hood,
the Soft Cell,
Tomorrow,
Basic Channel,
Kauko Röyhkä ja Narttu,
Gang of Four,
Cabaret Voltaire,
Spoonie Gee,
The Fortunes,
Jesper Dahlbäck,
Severed Heads,
Chris & Cosey,
B.T. Express,
Infiniti,
Crispian St. Peters,
Ornette Coleman,
The Monks,
A Certain Ratio,
Zero Boys,
Rod Modell,
Alison Limerick,
Dead Boys,
Saccharine Trust,
Masters at Work,
Barrington Levy,
Monolake,
Harmonia,
Brothers Johnson,
Scratch Acid,
Faust,
Negative Approach,
Barclay James Harvest,
Theoretical Girls,
Bad Manners,
Peter and Kerry,
Half Japanese,
Boz Scaggs,
Eden Ahbez,
The Kinks,
Althea and Donna,
Colin Newman,
Dave Gahan,
Absolute Body Control,
The Litter,
Visionaries,LMNO, T- Love & Iriscience,
Max Romeo,
Joe Smooth,
DJ Style,
Man Parrish,
Soulsonic Force,
Sparks,
Wolf Eyes,
Amon Düül II,
Pantaleimon,
One Last Wish,
Lou Reed,
Hashim,
The Slackers,
Sarah Menescal,
X-101, X-101, X-101, X-101.
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.