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 Burundi and from London.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Cairo and Sao Paulo.
I'm losing my edge to the art-school Stockholm 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 1978 at the first Visage practice in a loft in London.
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 Television to the rap kids.
I played it at the Crocodile.
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 Notorious Big And Bone Thugs. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Funky Four + One record on German import.
I heard that you have a white label of every seminal dance 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 an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Unwound record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
Carl Craig,
Franke,
The Monochrome Set,
Bizarre Inc.,
Loose Ends,
MC5,
Bobby Hutcherson,
Sex Pistols,
Pharoah Sanders,
Bob Dylan,
Magma,
The Royal Family And The Poor,
Public Enemy,
Rakim,
Roxette,
Fugazi,
Johnny Clarke,
The Sisters of Mercy,
Oppenheimer Analysis,
Jimmy McGriff,
Soul II Soul,
Byron Stingily,
Ponytail,
The Associates,
The Shadows of Knight,
Mission of Burma,
Curtis Mayfield,
The Martian,
Derrick Morgan,
Pete Rock & C.L. Smooth,
Suburban Knight,
Flash Fearless,
New Age Steppers,
Ralphi Rosario,
The Velvet Underground,
Howard Jones,
Nation of Ulysses,
Make Up,
The Tremeloes,
Black Pus,
Eve St. Jones,
Bill Near,
Motorama,
Average White Band,
Magazine,
Notorious Big And Bone Thugs,
The United States of America,
Buzzcocks,
Mo-Dettes,
Anthony Braxton,
Gil Scott-Heron & Brian Jackson,
Skarface,
Be Bop Deluxe,
Slave,
Yellowson,
The Sound,
Beasts of Bourbon,
James Chance & The Contortions,
Terrestrial Tones,
Bang On A Can,
Ken Boothe,
Tom Boy,
Grandmaster Flash and the Furious Five,
Supertramp, Supertramp, Supertramp, Supertramp.
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.