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 Cyprus and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1976.
I'm losing my edge.
To all the kids in Houston and Milan.
I'm losing my edge to the art-school Tokyo 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 synthesizer 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 The Leaves to the jazz 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 Eric B and Rakim. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
Los Fastidios,
LL Cool J,
Gary Puckett & The Union Gap,
The Doobie Brothers,
48th St. Collective,
Major Organ And The Adding Machine,
Ludus,
Depeche Mode,
The New Christs,
Darondo,
Brand Nubian,
The Wake,
Judy Mowatt,
Ultra Naté,
Suicide,
Talk Talk,
Mars,
The Electric Prunes,
New York Dolls,
Barrington Levy,
Procol Harum,
Q65,
Theoretical Girls,
Dave Gahan,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Man Parrish,
Tears for Fears,
DJ Style,
Prince Buster,
Can,
Moss Icon,
Gregory Isaacs,
Flamin' Groovies,
Radiopuhelimet,
Masters at Work,
Lakeside,
Faraquet,
Marcia Griffiths,
Black Pus,
Heaven 17,
The Raincoats,
The Remains,
Visage,
Ornette Coleman,
Wire,
Maleditus Sound,
Captain Beefheart & His Magic Band,
Oppenheimer Analysis,
Country Teasers,
Accadde A,
Fear,
Kaleidoscope,
Whodini,
Jawbox,
Absolute Body Control,
Q and Not U,
Robert Hood,
Albert Ayler,
Lungfish,
Fela Kuti,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.