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 Swaziland and from Jakarta.
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 1971.
I'm losing my edge.
To all the kids in Mumbai and Mumbai.
I'm losing my edge to the art-school Stockholm 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 1973 at the first Television practice in a loft in New York.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 X-102 to the rap 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 The Doors. All the underground hits.
All Rhythim Is Rhythim tracks. I heard you have a vinyl of every Tommy Roe record on German import.
I heard that you have a white label of every seminal funk 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 snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
David Axelrod,
Joe Finger,
The Standells,
Charles Mingus,
Liliput,
The Dave Clark Five,
The Fortunes,
The Cramps,
Crispy Ambulance,
Larry & the Blue Notes,
The Pretty Things,
Bronski Beat,
DNA,
Delon & Dalcan,
China Crisis,
Sly & The Family Stone,
the Germs,
Bobbi Humphrey,
Qualms,
Monks,
Major Organ And The Adding Machine,
The West Coast Pop Art Experimental Band,
Mad Mike,
The Saints,
Japan,
The J.B.'s,
Danielle Patucci,
CMW,
Gang Gang Dance,
Grauzone,
David Bowie,
Bad Manners,
The Gap Band,
Neil Young,
Stockholm Monsters,
Rhythim Is Rhythim,
Howard Jones,
Alton Ellis,
Skaos,
Joyce Sims,
The Durutti Column,
Peter Gordon & Love of Life Orchestra,
Oppenheimer Analysis,
Eden Ahbez,
The Alarm Clocks,
The Golliwogs,
The Doobie Brothers,
Pagans,
Cybotron,
Sällskapet,
Surgeon,
Kaleidoscope,
Pantaleimon,
Amon Düül,
Lakeside,
Andrew Ashong & Theo Parrish,
Sixth Finger,
Patti Smith,
Parry Music,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.