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 Cape Verde and from London.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1975.
I'm losing my edge.
To all the kids in Tehran and Toronto.
I'm losing my edge to the art-school Seoul 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 arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 The Neon Judgement 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 Wally Richardson. All the underground hits.
All Harmonia tracks. I heard you have a vinyl of every DeepChord presents Echospace 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 '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Youth Brigade,
Pete Rock & C.L. Smooth,
Sight & Sound,
Charles Mingus,
Supertramp,
Marc Almond,
Susan Cadogan,
Goldenarms,
La Düsseldorf,
Mr. Review,
Marshall Jefferson,
Saccharine Trust,
LL Cool J,
Lee Hazlewood,
Kauko Röyhkä ja Narttu,
Sandy B,
Royal Trux,
Bill Wells,
Public Image Ltd.,
Gil Scott-Heron and Jamie xx,
Red Lorry Yellow Lorry,
Joe Finger,
Outsiders,
Cal Tjader,
Jeff Lynne,
Thinking Fellers Union Local 282,
Das Ding,
Drive Like Jehu,
Unrelated Segments,
Neil Young,
Schoolly D,
DeepChord presents Echospace,
Peter Gordon & Love of Life Orchestra,
New York Dolls,
Severed Heads,
Joyce Sims,
Kool G Rap & DJ Polo,
Stiv Bators,
Eddi Front,
Brass Construction,
Yellowson,
Spandau Ballet,
Vaughan Mason & Crew,
Crooked Eye,
Radio Birdman,
Jacob Miller,
Moss Icon,
Rapeman,
Fatback Band,
Kenny Larkin,
Orchestral Manoeuvres in the Dark,
Jerry's Kids,
The Gories,
The Standells,
Interpol,
U.S. Maple,
The Neon Judgement,
The Black Dice,
Accadde A,
Tubeway Army,
Fat Boys,
Flamin' Groovies,
Suicide,
The Cramps, The Cramps, The Cramps, The Cramps.
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.