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 Bahrain and from Copenhagen.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1976.
I'm losing my edge.
To all the kids in Salvador and Stockholm.
I'm losing my edge to the art-school Philadelphia 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Vainqueur to the jazz kids.
I played it at the 40 Watt.
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 Mr. Review. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
Model 500,
Fluxion,
Marvin Gaye,
The Detroit Cobras,
The Count Five,
Terry Callier,
Connie Case,
Orchestral Manoeuvres in the Dark,
The Music Machine,
Robert Wyatt,
One Last Wish,
Rites of Spring,
the Human League,
The Neon Judgement,
Excepter,
The Dead C,
Camberwell Now,
Bobby Hutcherson,
Suburban Knight,
Echospace,
The Knickerbockers,
Black Flag,
Hasil Adkins,
Ultimate Spinach,
Lou Reed,
John Coltrane,
Malaria!,
48th St. Collective,
Schoolly D,
Quantec,
Barry Ungar,
Judy Mowatt,
Quadrant,
Crooked Eye,
Wire,
Andrew Ashong & Theo Parrish,
The Techniques,
The Fortunes,
Eve St. Jones,
The Busters,
Sexual Harrassment,
Audionom,
Sällskapet,
Simply Red,
Ice-T,
Qualms,
The Remains,
Mark Hollis,
DJ Style,
U.S. Maple,
Kas Product,
Electric Light Orchestra,
Roxette,
Gabor Szabo,
Monolake,
Eurythmics,
Aural Exciters,
Tom Boy,
Alton Ellis,
The Cure,
FM Einheit,
The Star Department, The Star Department, The Star Department, The Star Department.
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.