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 Mongolia and from Paris.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 Stockholm and London.
I'm losing my edge to the art-school Sao Paulo 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 güiro sounds with much patience.
I was there when Lou Reed 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 Brothers Johnson 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 Nils Olav. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every The United States of America 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Young Rascals,
Vladislav Delay,
Avey Tare & Kría Brekkan,
Susan Cadogan,
Japan,
The Grass Roots,
Lou Reed & Metallica,
Rapeman,
Stockholm Monsters,
Sandy B,
Archie Shepp,
Radiohead,
Simply Red,
The Barracudas,
the Fania All-Stars,
The Motions,
The Fortunes,
Pulsallama,
Tomorrow,
Lizzy Mercier Descloux,
Deakin,
Youth Brigade,
Skarface,
Roy Ayers Ubiquity,
Swell Maps,
The Durutti Column,
Michelle Simonal,
Pete Rock & C.L. Smooth,
Deadbeat,
Supertramp,
Scrapy,
Pierre Henry,
The Invisible,
Piero Umiliani,
Tommy Roe,
Fat Boys,
Qualms,
Jacques Brel,
Bobbi Humphrey,
Tim Buckley,
The Dave Clark Five,
Neu!,
Loose Ends,
Alison Limerick,
Fad Gadget,
Sonic Youth,
The Red Krayola,
New Age Steppers,
The Monks,
The Tremeloes,
The Mojo Men,
The Move,
Todd Terry,
Schoolly D,
Scientists,
Black Sheep,
Eric Dolphy,
Jeru the Damaja,
Mark Hollis,
Little Man,
Nik Kershaw,
Cybotron,
Angry Samoans,
Newcleus, Newcleus, Newcleus, Newcleus.
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.