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 Hungary and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Delhi and Manila.
I'm losing my edge to the art-school Copenhagen 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 mellotron 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 Eli Mardock to the techno kids.
I played it at the Troubador.
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 Stereo Dub. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
This Heat,
Curtis Mayfield,
Reagan Youth,
Carl Craig,
Soulsonic Force,
Rapeman,
Glenn Branca,
cv313,
Pussy Galore,
Public Image Ltd.,
Robert Görl,
Kerri Chandler,
Monolake,
The Invisible,
The Wake,
Y Pants,
Quando Quango,
Dual Sessions,
Black Flag,
Metal Thangz,
Banda Bassotti,
The Alarm Clocks,
LL Cool J,
D'Angelo,
The Monochrome Set,
Lizzy Mercier Descloux,
Joey Negro,
Eden Ahbez,
Graham Central Station,
Glambeats Corp.,
Traffic Nightmare,
Lucky Dragons,
Bill Near,
Susan Cadogan,
L. Decosne,
The Busters,
Terry Callier,
Pylon,
Chrome,
Tears for Fears,
Section 25,
Larry & the Blue Notes,
Andrew Ashong & Theo Parrish,
Bobby Byrd,
Rotary Connection,
Gregory Isaacs,
Aaron Thompson,
The Black Dice,
Rakim,
Jacques Brel,
Angry Samoans,
Rahsaan Roland Kirk,
Desert Stars,
Richard Hell and the Voidoids,
Magma,
The Cowsills,
Lindisfarne,
Mary Jane Girls,
The Moleskins,
Justin Hinds & The Dominoes,
Eric Copeland,
X-Ray Spex,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.