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 France and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Portland and Woodstock.
I'm losing my edge to the art-school Philadelphia 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 clarinet 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 Fat Boys to the electroclash 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 Yellowson. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harmonia,
Make Up,
Albert Ayler,
Bootsy's Rubber Band,
The Dirtbombs,
LL Cool J,
The Chocolate Watch Band,
Kenny Larkin,
Barbara Tucker,
Robert Görl,
Mary Jane Girls,
Gang of Four,
Black Sheep,
Beasts of Bourbon,
Au Pairs,
Sad Lovers and Giants,
Kauko Röyhkä ja Narttu,
Crispian St. Peters,
The Jesus and Mary Chain,
Thinking Fellers Union Local 282,
ABBA,
Gil Scott-Heron and Jamie xx,
Radiopuhelimet,
Ituana,
Visionaries,LMNO, T- Love & Iriscience,
Gastr Del Sol,
K-Klass,
Reagan Youth,
Schoolly D,
Sexual Harrassment,
Pet Shop Boys,
Graham Central Station,
Dual Sessions,
Notorious Big And Bone Thugs,
Soul Sonic Force,
X-Ray Spex,
World's Most,
Hardrive,
Peter Gordon & Love of Life Orchestra,
Monolake,
The Vogues,
Mantronix,
The Pretty Things,
Yaz,
Stereo Dub,
London Community Gospel Choir,
Smog,
Mad Mike,
Funky Four + One,
Ash Ra Tempel,
Minnie Riperton,
Quantec,
Bootsy Collins,
Bluetip,
Lebanon Hanover,
Parry Music,
Swans,
Lonnie Liston Smith,
Kurtis Blow,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.