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 Kiribati and from Delhi.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1968 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Houston.
I'm losing my edge to the art-school Jakarta 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 mellotron 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 Goldenarms to the techno 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 Yellowson. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every Visage record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Mark Hollis record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Gil Scott Heron,
the Slits,
Tears for Fears,
The J.B.'s,
Agitation Free,
The Mojo Men,
Country Joe & The Fish,
Eric Dolphy,
Gary Puckett & The Union Gap,
The Velvet Underground,
the Soft Cell,
Motorama,
Severed Heads,
Alice Coltrane,
Smog,
Gong,
Tropical Tobacco,
Siouxsie and the Banshees,
Bobby Byrd,
Larry & the Blue Notes,
Fatback Band,
Donny Hathaway,
It's A Beautiful Day,
Loose Ends,
Sparks,
Louis and Bebe Barron,
The Wake,
Peter Gordon & Love of Life Orchestra,
Rhythm & Sound,
Laurel Aitken,
Stiv Bators,
Faraquet,
Soft Machine,
Oppenheimer Analysis,
James Chance & The Contortions,
Trumans Water,
Yazoo,
Lalo Schifrin,
Scion,
The Monks,
Freddie Wadling,
48th St. Collective,
Desert Stars,
The Pop Group,
Hoover,
The Trojans,
Lafayette Afro Rock Band,
Organ,
Rufus Thomas,
Negative Approach,
Girls At Our Best!,
The Red Krayola,
Lindisfarne,
The Young Rascals,
Cybotron,
Pantaleimon,
Donald Byrd,
the Sonics,
the Association,
Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme.
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.