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 Liechtenstein and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Delhi.
I'm losing my edge to the art-school Glasgow 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator 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 Marine Girls to the crunk kids.
I played it at the Hacienda.
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 The Star Department. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Bobby Hutcherson record on German import.
I heard that you have a white label of every seminal electroclash 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 an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Soulsonic Force 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?
Alison Limerick,
Gil Scott Heron,
Janne Schatter,
R.M.O.,
MDC,
One Last Wish,
June of 44,
Sunsets and Hearts,
Cluster,
Brothers Johnson,
Strawberry Alarm Clock,
Throbbing Gristle,
kango's stein massive,
Wally Richardson,
The Misunderstood,
Traffic Nightmare,
Todd Rundgren,
Mission of Burma,
Howard Jones,
Bobby Sherman,
Lungfish,
Ludus,
Lou Christie,
Bobby Hutcherson,
The Motions,
Stereo Dub,
Eurythmics,
The Gap Band,
Glambeats Corp.,
Bobby Womack,
Beasts of Bourbon,
The Victims,
Scratch Acid,
Faust,
Funky Four + One,
The Barracudas,
Kerri Chandler,
The Cure,
Pulsallama,
Kool Moe Dee,
Saccharine Trust,
Larry & the Blue Notes,
Pagans,
The Names,
Fort Wilson Riot,
Fad Gadget,
Manfred Mann's Earth Band,
Fifty Foot Hose,
Marc Almond,
Deepchord,
the Sonics,
Crispian St. Peters,
Lucky Dragons,
Gang Gang Dance,
Justin Hinds & The Dominoes,
Country Joe & The Fish,
Rapeman,
Fugazi,
Amazonics,
The Real Kids,
Moby Grape,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.