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 Suriname and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Delhi and Hong Kong.
I'm losing my edge to the art-school Lyon 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 organ sounds with much patience.
I was there when David Bowie 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 Visage to the rap kids.
I played it at the Roxy.
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 Crispy Ambulance. All the underground hits.
All Yellowson tracks. I heard you have a vinyl of every Gastr Del Sol record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roger Hodgson,
The Divine Comedy,
Metal Thangz,
Faraquet,
Vladislav Delay,
Clear Light,
The Offenders,
Dorothy Ashby,
Steve Hackett,
Ajijia Myrayebe,
Davy DMX,
Chris & Cosey,
Tim Buckley,
Lizzy Mercier Descloux,
Sixth Finger,
Monks,
Art Ensemble Of Chicago,
Toni Rubio,
Tropical Tobacco,
Darondo,
Zero Boys,
Johnny Osbourne,
The Associates,
Dark Day,
Niagra,
Andrew Hill,
The Human League,
Röyhkä ja Rättö ja Lehtisalo,
Wings,
Livin' Joy,
Terrestrial Tones,
Ituana,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Sonics,
Scientists,
Cluster,
Susan Cadogan,
The Tremeloes,
Radiopuhelimet,
Tubeway Army,
The Mummies,
Eric B and Rakim,
Traffic Nightmare,
Yazoo,
Anakelly,
Iggy Pop,
Ornette Coleman,
The United States of America,
New Order,
Man Eating Sloth,
Marcia Griffiths,
Ralphi Rosario,
The West Coast Pop Art Experimental Band,
Barry Ungar,
Talk Talk,
The Blues Magoos,
Glambeats Corp.,
The Remains,
Louis and Bebe Barron,
Kas Product,
Todd Terry,
Flipper, Flipper, Flipper, Flipper.
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.