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 Cuba and from Delhi.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1962 to 1970.
I'm losing my edge.
To all the kids in Bologna and Toronto.
I'm losing my edge to the art-school Taipei 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 oboe sounds with much patience.
I was there when Holger Czukay 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 Gabor Szabo 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 The Angels of Light. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every The Gun Club record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Larry & the Blue Notes,
Ornette Coleman,
Frankie Knuckles,
AZ,
Peter & Gordon,
Terrestrial Tones,
Jesper Dahlbäck,
Dave Gahan,
ABC,
Orchestral Manoeuvres in the Dark,
Crooked Eye,
Hasil Adkins,
Althea and Donna,
Art Ensemble Of Chicago,
Letta Mbulu,
Ronan,
R.M.O.,
Metal Thangz,
Aswad,
Nico,
The Motions,
Iggy Pop,
Rhythm & Sound,
Wasted Youth,
Boogie Down Productions,
Gang of Four,
Al Stewart,
Toni Rubio,
Quando Quango,
The Grass Roots,
Icehouse,
The Young Rascals,
Liaisons Dangereuses,
The Moleskins,
Siglo XX,
Radiopuhelimet,
the Sonics,
Kauko Röyhkä ja Narttu,
Ralphi Rosario,
Rekid,
The Smoke,
The Sound,
Judy Mowatt,
Joe Smooth,
Eden Ahbez,
Ohio Players,
KRS-One,
The Selecter,
The Fall,
Robert Görl,
Amazonics,
Pere Ubu,
Justin Hinds & The Dominoes,
Dead Boys,
Grandmaster Flash and the Furious Five,
Lyres,
Cal Tjader,
Flamin' Groovies,
The Fortunes,
Bobby Byrd,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.