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 Belarus and from New York.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Salvador and Seoul.
I'm losing my edge to the art-school Tehran 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 Robert Palmer 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 Agitation Free to the jazz 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 LL Cool J. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every The Sonics 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Flock of Seagulls,
Kurtis Blow,
Quantec,
Soft Cell,
The Tremeloes,
Manfred Mann's Earth Band,
Interpol,
Eurythmics,
The Young Rascals,
Magma,
Quadrant,
Harry Pussy,
the Bar-Kays,
Subhumans,
Frankie Knuckles,
Tim Buckley,
Saccharine Trust,
Lindisfarne,
Infiniti,
Masters at Work,
The Pretty Things,
Electric Light Orchestra,
Bobby Sherman,
Nation of Ulysses,
JFA,
Teenage Jesus and the Jerks,
Rakim,
Derrick May,
Heavy D & The Boyz,
Jerry Gold Smith,
Chrome,
Inner City,
John Cale,
Gong,
Larry & the Blue Notes,
Loose Ends,
Robert Hood,
Visage,
The Beau Brummels,
Eric B and Rakim,
Essential Logic,
The Techniques,
Sticky Fingaz feat. Raekwon,
Country Joe & The Fish,
Kool Moe Dee,
The Happenings,
Scrapy,
Youth Brigade,
The Gladiators,
The Selecter,
The Last Poets,
Rotary Connection,
Kerri Chandler,
Reagan Youth,
Suicide,
Gang Starr,
Lyres,
Joensuu 1685,
Reuben Wilson,
The Doors,
Warsaw,
The Residents,
Bill Near, Bill Near, Bill Near, Bill Near.
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.