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 China and from Winnipeg.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Tehran and Woodstock.
I'm losing my edge to the art-school Manchester 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 Second Layer practice in a loft in South London.
I was working on the clarinet 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 Delon & Dalcan to the jazz 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 Fat Boys. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Michelle Simonal 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 '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Funkadelic,
The Monks,
Toni Rubio,
Saccharine Trust,
Letta Mbulu,
Absolute Body Control,
The Raincoats,
Negative Approach,
Rahsaan Roland Kirk,
Skriet,
Ken Boothe,
Glambeats Corp.,
Idris Muhammad,
The Move,
A Flock of Seagulls,
The Zeros,
Massinfluence,
Masters at Work,
The Five Americans,
The Doobie Brothers,
Derrick Morgan,
Bobby Sherman,
Thinking Fellers Union Local 282,
Ludus,
Cybotron,
Angels of Light & Akron/Family,
X-102,
New York Dolls,
Marvin Gaye,
the Sonics,
Crooked Eye,
The Grass Roots,
Dr. Dre and Snoop Doggy Dog,
Roxette,
Hoover,
Mr. Review,
Barclay James Harvest,
Boogie Down Productions,
Chrome,
Super Lover Cee & Casanova Rud,
Alphaville,
Mantronix,
Altered Images,
Robert Görl,
Archie Shepp,
Bootsy Collins,
Metal Thangz,
The Stooges,
The Moleskins,
Eurythmics,
KRS-One,
Model 500,
Albert Ayler,
The Star Department,
L. Decosne,
Marc Almond,
The Red Krayola,
Ajijia Myrayebe,
Suicide,
The Slits,
Warsaw, Warsaw, Warsaw, Warsaw.
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.