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 Manchester.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1971.
I'm losing my edge.
To all the kids in Bremen and Mexico City.
I'm losing my edge to the art-school Mumbai 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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Jesper Dahlbäck to the dance 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 Jeff Lynne. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Negative Approach 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
Harry Pussy,
Kerri Chandler,
Easy Going,
Black Sheep,
Lou Reed & Metallica,
Ultra Naté,
Pole,
Thompson Twins,
The Fuzztones,
Liliput,
The Tremeloes,
Qualms,
Absolute Body Control,
Bootsy Collins,
The Slits,
Khruangbin,
Joensuu 1685,
Fugazi,
Curtis Mayfield,
The Birthday Party,
The Monks,
The Offenders,
The Star Department,
Barbara Tucker,
Arcadia,
The Index,
Howard Jones,
The Royal Family And The Poor,
Kauko Röyhkä ja Narttu,
Basic Channel,
Sex Pistols,
Circle Jerks,
The Fall,
World's Most,
Scion,
Newcleus,
Eden Ahbez,
The Remains,
Mad Mike,
Orchestral Manoeuvres in the Dark,
Larry & the Blue Notes,
Stiv Bators,
The Shadows of Knight,
Kenny Larkin,
U.S. Maple,
the Fania All-Stars,
Rekid,
Sparks,
Excepter,
Radiohead,
The Victims,
The Misunderstood,
Little Man,
The Moody Blues,
Depeche Mode,
The Young Rascals,
The Grass Roots,
Ronnie Foster,
LL Cool J,
Das Ding,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.