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 Indonesia and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Tehran and Hong Kong.
I'm losing my edge to the art-school Seoul 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 Nile Rodgers 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 The Tremeloes to the grime 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 Q65. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every The Grass Roots record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Tropical Tobacco record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
Bill Wells,
Yazoo,
The Mummies,
Gastr Del Sol,
X-Ray Spex,
Make Up,
The Royal Family And The Poor,
Alton Ellis,
Althea and Donna,
The Golliwogs,
Suburban Knight,
Slick Rick,
Bobby Sherman,
The Fugs,
The Motions,
Au Pairs,
These Immortal Souls,
Throbbing Gristle,
Liaisons Dangereuses,
Archie Shepp,
Television Personalities,
Main Source,
Magazine,
The Associates,
Roger Hodgson,
Ponytail,
Sly & The Family Stone,
EPMD,
Delta 5,
Sunsets and Hearts,
Ornette Coleman,
Talk Talk,
Ken Boothe,
Black Pus,
The Monochrome Set,
Hashim,
Masters at Work,
Letta Mbulu,
Jandek,
Rufus Thomas,
Lizzy Mercier Descloux,
John Cale,
Teenage Jesus and the Jerks,
Cal Tjader,
Moby Grape,
A Certain Ratio,
The Pop Group,
Echo & the Bunnymen,
Dark Day,
Visage,
Oppenheimer Analysis,
Depeche Mode,
Godley & Creme,
Kenny Larkin,
Mantronix,
Terror Squad Feat. Camron,
Orchestral Manoeuvres in the Dark,
Arcadia, Arcadia, Arcadia, Arcadia.
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.