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 Djibouti and from Accra.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Salvador and Philadelphia.
I'm losing my edge to the art-school Milan 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 linndrum 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 Outsiders to the rap 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 Anakelly. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
Ultravox,
Eric Dolphy,
Lou Reed & John Cale,
The Saints,
Joyce Sims,
Amon Düül II,
Marshall Jefferson,
Sexual Harrassment,
Echo & the Bunnymen,
Neil Young,
Röyhkä ja Rättö ja Lehtisalo,
Harpers Bizarre,
The Trojans,
Manfred Mann's Earth Band,
Byron Stingily,
Darondo,
Dorothy Ashby,
The Move,
Peter & Gordon,
Rufus Thomas,
Suburban Knight,
Ultramagnetic MC's,
Wire,
Susan Cadogan,
Black Bananas,
Arab on Radar,
U.S. Maple,
Drexciya,
Los Fastidios,
Althea and Donna,
Jeru the Damaja,
Fear,
Simply Red,
Boz Scaggs,
Mandrill,
Eli Mardock,
The Alarm Clocks,
Index,
Rakim,
The Human League,
Louis and Bebe Barron,
Eurythmics,
Aural Exciters,
Jesper Dahlbäck,
Magma,
ABBA,
Danielle Patucci,
Spandau Ballet,
CMW,
Monks,
Monolake,
Parry Music,
Faraquet,
The Techniques,
Eve St. Jones,
Delon & Dalcan,
Rahsaan Roland Kirk,
X-102,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.