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 Madrid.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Toronto and Portland.
I'm losing my edge to the art-school Taipei 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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord 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 Heavy D & The Boyz to the rap kids.
I played it at the Hacienda.
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 Jesper Dahlback. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Deepchord 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
Justin Hinds & The Dominoes,
Alton Ellis,
The Star Department,
The Victims,
Tomorrow,
Derrick May,
Stockholm Monsters,
Jacob Miller,
Dual Sessions,
The Electric Prunes,
Wolf Eyes,
Terrestrial Tones,
Curtis Mayfield,
Deadbeat,
Minnie Riperton,
Camberwell Now,
Whodini,
The Durutti Column,
Sun City Girls,
Guru Guru,
Fat Boys,
The Seeds,
Brothers Johnson,
Clear Light,
Zapp,
Hardrive,
The Modern Lovers,
Cabaret Voltaire,
MDC,
Susan Cadogan,
Youth Brigade,
Rosa Yemen,
Darondo,
Jandek,
Bill Near,
The Selecter,
Marmalade,
Albert Ayler,
Oneida,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mary Jane Girls,
The Zeros,
The Moleskins,
Louis and Bebe Barron,
ABBA,
Angry Samoans,
Ohio Players,
Heavy D & The Boyz,
Au Pairs,
Maleditus Sound,
cv313,
R.M.O.,
Soft Machine,
Sex Pistols,
Sister Nancy,
Bob Dylan,
The Monks,
Notorious Big And Bone Thugs,
Gerry Rafferty,
The Invisible,
Lou Reed & Metallica,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.