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 Spain and from Milan.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1979.
I'm losing my edge.
To all the kids in Sao Paulo and New York.
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 theremin sounds with much patience.
I was there when Michael McDonald 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 Babytalk to the electroclash kids.
I played it at the Spitz.
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 Kurtis Blow. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal disco 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 güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Swell Maps,
The Detroit Cobras,
June of 44,
Josef K,
Pantaleimon,
Sunsets and Hearts,
Magma,
Röyhkä ja Rättö ja Lehtisalo,
The Smoke,
Scan 7,
Dawn Penn,
Ludus,
Vaughan Mason & Crew,
Kurtis Blow,
Joe Finger,
John Holt,
Hasil Adkins,
Delta 5,
Dave Gahan,
The Slits,
The Modern Lovers,
Bronski Beat,
Electric Prunes,
Lower 48,
James White and The Blacks,
Maurizio,
Youth Brigade,
The West Coast Pop Art Experimental Band,
Average White Band,
Goldenarms,
The Happenings,
Slave,
The Mummies,
The Busters,
Eric B and Rakim,
Man Eating Sloth,
Shoche,
Howard Jones,
Echospace,
DJ Style,
Louis and Bebe Barron,
Ken Boothe,
Duran Duran,
John Cale,
Pagans,
The Angels of Light,
Joe Smooth,
The Electric Prunes,
The Count Five,
Minor Threat,
T. Rex,
Glambeats Corp.,
Eyeless In Gaza,
Teenage Jesus and the Jerks,
The Durutti Column,
Don Cherry,
Dark Day,
Unrelated Segments,
Tropical Tobacco,
Intrusion,
Ten City, Ten City, Ten City, Ten City.
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.