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 Comoros and from Glasgow.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Woodstock and Glasgow.
I'm losing my edge to the art-school Bremen 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Roxette to the disco 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 Erasure. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Letta Mbulu 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 '90s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your theremin and bought a guitar.
I hear that you and your band have sold your guitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
Cheater Slicks,
Avey Tare & Kría Brekkan,
Loose Ends,
The Fuzztones,
The Offenders,
The Cramps,
Deutsch Amerikanische Freundschaft,
Basic Channel,
Rotary Connection,
Tom Boy,
The Red Krayola,
Severed Heads,
Rosa Yemen,
Susan Cadogan,
Mission of Burma,
Alice Coltrane,
Be Bop Deluxe,
Bobby Hutcherson,
Masters at Work,
Piero Umiliani,
Marvin Gaye,
Radio Birdman,
Fat Boys,
Sexual Harrassment,
Todd Terry,
Stockholm Monsters,
Altered Images,
Kaleidoscope,
Skriet,
Electric Prunes,
Jimmy McGriff,
Monks,
Röyhkä ja Rättö ja Lehtisalo,
Bush Tetras,
Donny Hathaway,
Funky Four + One,
T. Rex,
Avey Tare's Slasher Flicks,
Arcadia,
Guru Guru,
Eve St. Jones,
James White and The Blacks,
A Flock of Seagulls,
Neil Young & Crazy Horse,
Sound Behaviour,
The Sound,
Excepter,
Mantronix,
It's A Beautiful Day,
Liliput,
DeepChord presents Echospace,
Cameo,
Gabor Szabo,
Sight & Sound,
8 Eyed Spy,
Roy Ayers,
Joe Finger,
Mary Jane Girls,
Maurizio,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.