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 Togo and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Beijing and Tokyo.
I'm losing my edge to the art-school Houston 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 clarinet 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 Crash Course in Science to the dance kids.
I played it at CBGB's.
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 Kool Moe Dee. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Sticky Fingaz feat. Raekwon 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Dave Gahan,
The Doors,
Kaleidoscope,
Freddie Wadling,
Ronnie Foster,
Dual Sessions,
Peter & Gordon,
The Monks,
Maleditus Sound,
The Associates,
Sam Rivers,
Index,
Babytalk,
Gil Scott Heron,
Fat Boys,
Porter Ricks,
Marine Girls,
X-Ray Spex,
Procol Harum,
Chris & Cosey,
Heaven 17,
A Certain Ratio,
Anakelly,
Nick Fraelich,
Technova,
Wally Richardson,
Cybotron,
Larry & the Blue Notes,
Arthur Verocai,
Icehouse,
The Birthday Party,
Depeche Mode,
The Men They Couldn't Hang,
Fear,
Oblivians,
Donny Hathaway,
Roy Ayers Ubiquity,
Jesper Dahlbäck,
New Age Steppers,
Jeru the Damaja,
Visage,
The Last Poets,
Major Organ And The Adding Machine,
DeepChord presents Echospace,
Robert Hood,
Ituana,
Pylon,
Monolake,
Minnie Riperton,
Aloha Tigers,
The Walker Brothers,
Boredoms,
Main Source,
Leonard Cohen,
the Slits,
Ornette Coleman,
Moebius,
Avey Tare's Slasher Flicks,
Sister Nancy,
Popol Vuh,
Youth Brigade,
AZ, AZ, AZ, AZ.
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.