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 Lesotho and from Salvador.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Lyon and Accra.
I'm losing my edge to the art-school Beijing 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 Michael McDonald 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 Lower 48 to the electroclash kids.
I played it at the Astoria.
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 Cal Tjader. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Thompson Twins record on German import.
I heard that you have a white label of every seminal techno 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 snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Crooked Eye record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
Deadbeat,
Quantec,
The Flesh Eaters,
Bill Wells,
48th St. Collective,
MC5,
Unrelated Segments,
Amon Düül,
David Axelrod,
The Evens,
Von Mondo,
Man Parrish,
Laurel Aitken,
Animal Collective,
Brass Construction,
Roxy Music,
Kings Of Tomorrow,
Anakelly,
Arab on Radar,
Michelle Simonal,
Con Funk Shun,
Yusef Lateef,
ABBA,
Ultramagnetic MC's,
The Victims,
The Royal Family And The Poor,
Pantytec,
Outsiders,
Smog,
Mo-Dettes,
Malaria!,
Fad Gadget,
Howard Jones,
Eric Copeland,
D'Angelo,
Kerrie Biddell,
Masters at Work,
The Chocolate Watch Band,
Country Teasers,
La Düsseldorf,
Rod Modell,
Gerry Rafferty,
Drive Like Jehu,
The Blues Magoos,
Tomorrow,
The Golliwogs,
Zero Boys,
Echospace,
The New Christs,
Ajijia Myrayebe,
Warsaw,
Gary Puckett & The Union Gap,
Blancmange,
Jerry Gold Smith,
Matthew Halsall,
Swell Maps,
Lower 48,
10cc,
Gastr Del Sol,
The Gories,
Todd Rundgren,
Scratch Acid,
Black Moon, Black Moon, Black Moon, Black Moon.
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.