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 Liberia and from Accra.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1973.
I'm losing my edge.
To all the kids in London and Jakarta.
I'm losing my edge to the art-school London 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 marimba 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 Spoonie Gee to the disco 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 Skriet. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Michelle Simonal record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Outsiders record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
E-Dancer,
the Swans,
The Human League,
Marc Romboy vs. Booka Shade,
Leonard Cohen,
Angels of Light & Akron/Family,
Gang of Four,
Deadbeat,
Amazonics,
London Community Gospel Choir,
Teenage Jesus and the Jerks,
Marine Girls,
Crispian St. Peters,
The Stooges,
Mars,
Graham Central Station,
Crash Course in Science,
Nation of Ulysses,
Sound Behaviour,
Brick,
OOIOO,
Liaisons Dangereuses,
Pierre Henry,
Neil Young,
Quando Quango,
Main Source,
Pere Ubu,
Tomorrow,
The Pop Group,
The Monochrome Set,
Scratch Acid,
Suburban Knight,
Neu!,
Robert Görl,
Swans,
Ludus,
the Human League,
The Fortunes,
Au Pairs,
Freddie Wadling,
Underground Resistance,
Aaron Thompson,
Japan,
Delta 5,
Barry Ungar,
Erykah Badu,
Tropical Tobacco,
Kurtis Blow,
Eric B and Rakim,
Arcadia,
Gregory Isaacs,
Gastr Del Sol,
The Standells,
Agent Orange,
Bauhaus,
Kayak,
Rosa Yemen,
Crime,
Technova,
John Cale,
The Litter,
Bang On A Can,
Negative Approach,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.