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 Liberia and from Tokyo.
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 1971.
I'm losing my edge.
To all the kids in Halifax and Sao Paulo.
I'm losing my edge to the art-school Seoul 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 Donald Fagen 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 Ludus to the dance 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 Visage. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal funk 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 an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Zapp record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Glenn Branca,
Ultra Naté,
Robert Görl,
Quadrant,
Jeff Lynne,
Robert Wyatt,
James White and The Blacks,
Tim Buckley,
Hasil Adkins,
The Techniques,
Alison Limerick,
A Certain Ratio,
Scion,
Lou Reed & Metallica,
Sun Ra Arkestra,
Scientists,
Mars,
The Neon Judgement,
The Gories,
Motorama,
Zero Boys,
The Young Rascals,
Alphaville,
Orchestral Manoeuvres in the Dark,
Pagans,
Slave,
Swell Maps,
Dorothy Ashby,
Boredoms,
Ohio Players,
Ten City,
The Slackers,
The Music Machine,
Eric Dolphy,
The Wake,
The Mighty Diamonds,
Con Funk Shun,
Junior Murvin,
Mr. Review,
Intrusion,
Pharoah Sanders,
Terror Squad Feat. Camron,
Wally Richardson,
The Trojans,
Visage,
Tears for Fears,
Half Japanese,
Gil Scott-Heron and Jamie xx,
Godley & Creme,
Lee Hazlewood,
Soft Cell,
Roy Ayers,
Bad Manners,
Lou Reed & John Cale,
Terrestrial Tones,
Cybotron,
Model 500,
Dennis Brown,
Gregory Isaacs,
Sound Behaviour,
The Remains, The Remains, The Remains, The Remains.
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.