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 Palau and from Hong Kong.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Beijing and Johannesburg.
I'm losing my edge to the art-school Manila 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 chamberlin 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 Tubeway Army to the electroclash kids.
I played it at the Astoria.
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 Radiopuhelimet. All the underground hits.
All Peter & Gordon tracks. I heard you have a vinyl of every H. Thieme record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Rod Modell record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
48th St. Collective,
Chrome,
Television,
The Stooges,
Ralphi Rosario,
The Smoke,
Talk Talk,
Tom Boy,
Dead Boys,
Bad Manners,
Flamin' Groovies,
Jesper Dahlback,
Deepchord,
Con Funk Shun,
Popol Vuh,
Connie Case,
The Buckinghams,
The Blues Magoos,
Desert Stars,
Kango’s Stein Massive,
Gil Scott-Heron & Brian Jackson,
The Evens,
The Fortunes,
Howard Jones,
John Lydon,
The Knickerbockers,
Soul II Soul,
The Fall,
Anthony Braxton,
Jacob Miller,
The Real Kids,
Gil Scott-Heron and Jamie xx,
New Age Steppers,
Peter & Gordon,
Drexciya,
Ash Ra Tempel,
Oppenheimer Analysis,
London Community Gospel Choir,
Lou Reed & Metallica,
Visage,
The Misunderstood,
Bang on a Can All-Stars,
Make Up,
Section 25,
The Martian,
Ossler,
Niagra,
Be Bop Deluxe,
Orchestral Manoeuvres in the Dark,
Ultra Naté,
Barclay James Harvest,
Yaz,
Joey Negro,
The Pop Group,
The Associates,
Jerry Gold Smith,
Country Joe & The Fish,
Sight & Sound,
Moebius,
Soul Sonic Force,
Jeru the Damaja,
Johnny Osbourne,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.