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 Armenia and from Lyon.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Philadelphia.
I'm losing my edge to the art-school Paris 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 oboe 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 Soft Cell to the disco 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 Das Ding. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every Supertramp record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Ludus record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
The Residents,
The Last Poets,
Bob Dylan,
The Leaves,
Electric Prunes,
the Fania All-Stars,
Jandek,
Model 500,
Sight & Sound,
Supertramp,
Boz Scaggs,
Jacob Miller,
The Fugs,
Marc Almond,
Johnny Osbourne,
Fela Kuti,
the Swans,
The Grass Roots,
Donald Byrd,
The Music Machine,
Big Daddy Kane,
Soul II Soul,
Hot Snakes,
Neu!,
Orchestral Manoeuvres in the Dark,
The United States of America,
Accadde A,
Symarip,
Maurizio,
Suicide,
Shuggie Otis,
Magma,
Cybotron,
Public Image Ltd.,
The Gap Band,
Flash Fearless,
Alison Limerick,
James Chance & The Contortions,
Ten City,
Kevin Saunderson,
Section 25,
John Holt,
Gabor Szabo,
Ash Ra Tempel,
Kenny Larkin,
Index,
Jimmy McGriff,
Howard Jones,
Average White Band,
Rapeman,
Pulsallama,
Dorothy Ashby,
New Order,
K-Klass,
Captain Beefheart & His Magic Band,
Brass Construction,
Marshall Jefferson,
Terror Squad Feat. Camron,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.