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 Gabon and from Taipei.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Madrid.
I'm losing my edge to the art-school Salvador 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Association to the jazz 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 Janne Schatter. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every The Buckinghams record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Minnie Riperton,
Don Cherry,
Sam Rivers,
Television,
Big Daddy Kane,
Skriet,
Crooked Eye,
the Human League,
Model 500,
KRS-One,
Gregory Isaacs,
Lebanon Hanover,
FM Einheit,
Skarface,
Pete Rock & C.L. Smooth,
Unwound,
EPMD,
Nils Olav,
The Litter,
David Axelrod,
Deakin,
Joensuu 1685,
LL Cool J,
The Dirtbombs,
Joe Smooth,
John Cale,
Television Personalities,
Pierre Henry,
Robert Wyatt,
Robert Görl,
The Buckinghams,
Lalo Schifrin,
The Mighty Diamonds,
Stereo Dub,
Marcia Griffiths,
Supertramp,
Curtis Mayfield,
Avey Tare's Slasher Flicks,
Jeru the Damaja,
The Names,
Gastr Del Sol,
Ronnie Foster,
Flipper,
The New Christs,
David Bowie,
Bobby Byrd,
Brothers Johnson,
Jesper Dahlbäck,
Morten Harket,
Brick,
Chris & Cosey,
Eden Ahbez,
Maurizio,
Alice Coltrane,
The Beau Brummels,
Vaughan Mason & Crew,
Glambeats Corp.,
The Shadows of Knight,
Young Marble Giants,
Drive Like Jehu,
Roxy Music,
The Selecter,
The Doors, The Doors, The Doors, The Doors.
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.