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 Kyrgyzstan and from Tokyo.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1972.
I'm losing my edge.
To all the kids in Spokane and Mexico City.
I'm losing my edge to the art-school Toronto 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Jeru the Damaja to the funk kids.
I played it at the Troubador.
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 Jerry Gold Smith. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every Junior Murvin 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes 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?
the Bar-Kays,
Deakin,
The Star Department,
James Chance & The Contortions,
Q and Not U,
Soft Cell,
Josef K,
the Normal,
Charles Mingus,
Section 25,
Pole,
the Fania All-Stars,
Traffic Nightmare,
F. McDonald,
Average White Band,
DNA,
Au Pairs,
Camberwell Now,
Girls At Our Best!,
Massinfluence,
Moebius,
Thompson Twins,
Sonny Sharrock,
Eden Ahbez,
Ultramagnetic MC's,
Magma,
Mission of Burma,
L. Decosne,
Jeff Lynne,
Curtis Mayfield,
Sun Ra Arkestra,
Ken Boothe,
Faraquet,
Lucky Dragons,
Scott Walker,
Hardrive,
Rod Modell,
Fifty Foot Hose,
Livin' Joy,
Ornette Coleman,
Aswad,
James White and The Blacks,
10cc,
The Dave Clark Five,
Cybotron,
Hot Snakes,
Das Ding,
Black Sheep,
Quando Quango,
Urselle,
Big Daddy Kane,
Accadde A,
Essential Logic,
Nirvana,
Gary Puckett & The Union Gap,
Delon & Dalcan,
Kas Product,
John Lydon,
World's Most,
Boz Scaggs,
Trumans Water, Trumans Water, Trumans Water, Trumans Water.
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.