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 Iran and from Bologna.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Madrid and Paris.
I'm losing my edge to the art-school Paris 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 1976 at the first Chic practice in a loft in New York.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Roy Ayers Ubiquity to the jazz kids.
I played it at Trash.
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 Yusef Lateef. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Arcadia 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 '60s cut and another box set from the '90s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Jesper Dahlback,
Matthew Bourne,
Sly & The Family Stone,
Radiohead,
Pulsallama,
Orchestral Manoeuvres in the Dark,
Fugazi,
Neu!,
Chris Corsano,
Stiv Bators,
Tres Demented,
Lou Reed & Metallica,
Urselle,
Buzzcocks,
Blancmange,
Black Bananas,
Siglo XX,
Sister Nancy,
Los Fastidios,
Whodini,
Suicide,
FM Einheit,
Gregory Isaacs,
Faust,
Reagan Youth,
Visionaries,LMNO, T- Love & Iriscience,
X-Ray Spex,
The Cosmic Jokers,
Royal Trux,
Rod Modell,
Lalo Schifrin,
The Move,
Isaac Hayes,
La Düsseldorf,
The Detroit Cobras,
Jacob Miller,
The Slits,
Scratch Acid,
Faraquet,
Pussy Galore,
James Chance & The Contortions,
Pagans,
Gang Gang Dance,
The Fuzztones,
Peter & Gordon,
The Stooges,
UT,
The Young Rascals,
Pharaoh Sanders and the Fire Engines,
Jawbox,
Man Eating Sloth,
Bush Tetras,
Rites of Spring,
Shuggie Otis,
Ken Boothe,
The Men They Couldn't Hang,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Röyhkä ja Rättö ja Lehtisalo,
Gang Green,
The Trojans,
Gerry Rafferty,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.