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 Monaco and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Bremen.
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 chamberlin 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 Ultramagnetic MC's to the dance kids.
I played it at the Crocodile.
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 Major Organ And The Adding Machine. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
Siouxsie and the Banshees,
Adolescents,
Captain Beefheart & His Magic Band,
Kevin Saunderson,
Yusef Lateef,
Crime,
Soft Machine,
Don Cherry,
Gil Scott-Heron and Jamie xx,
Lucky Dragons,
Colin Newman,
X-Ray Spex,
Jesper Dahlback,
The Motions,
Aswad,
Bush Tetras,
Juan Atkins,
Sunsets and Hearts,
Groovy Waters,
Rites of Spring,
Pharaoh Sanders and the Fire Engines,
Motorama,
Lebanon Hanover,
The Electric Prunes,
Bang On A Can,
Eric B and Rakim,
Lalo Schifrin,
Tom Boy,
Eve St. Jones,
Whodini,
Country Joe & The Fish,
Jerry Gold Smith,
Niagra,
The Leaves,
Avey Tare & Kría Brekkan,
It's A Beautiful Day,
Dorothy Ashby,
Gary Puckett & The Union Gap,
Barrington Levy,
Spandau Ballet,
Aaron Thompson,
Marvin Gaye,
Boogie Down Productions,
EPMD,
Sight & Sound,
The Happenings,
Clear Light,
Liaisons Dangereuses,
CMW,
The Victims,
Michelle Simonal,
Agent Orange,
Harmonia,
Minor Threat,
Gian Franco Pienzio,
Brand Nubian,
Henry Cow,
Dave Gahan,
The Dead C,
Gang Green,
Crispian St. Peters,
Roxette,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.