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 Angola and from Calgary.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Houston and Shanghai.
I'm losing my edge to the art-school Hong Kong 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 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 Beasts of Bourbon to the rap kids.
I played it at Trash.
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 Mo-Dettes. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every Archie Shepp record on German import.
I heard that you have a white label of every seminal grime 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 harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Lalann,
Sarah Menescal,
Oneida,
Interpol,
Deadbeat,
Godley & Creme,
Brick,
Bobby Womack,
Sun City Girls,
The Remains,
This Heat,
Pere Ubu,
Super Lover Cee & Casanova Rud,
Outsiders,
Max Romeo,
Iggy Pop,
Boz Scaggs,
The Associates,
Quando Quango,
Skarface,
Don Cherry,
The Monochrome Set,
Arab on Radar,
Negative Approach,
Mr. Review,
Technova,
Sonny Sharrock,
Pole,
New Order,
Crispian St. Peters,
T.S.O.L.,
Ten City,
Bill Near,
Amon Düül,
Sugar Minott,
Blossom Toes,
X-102,
The Litter,
Andrew Ashong & Theo Parrish,
Yusef Lateef,
Kaleidoscope,
The Jesus and Mary Chain,
Crash Course in Science,
Tropical Tobacco,
Skaos,
Ludus,
The Slackers,
Crispy Ambulance,
Todd Terry,
Wolf Eyes,
Avey Tare & Kría Brekkan,
Q and Not U,
Young Marble Giants,
EPMD,
Joyce Sims,
Echospace,
Stereo Dub,
B.T. Express,
Henry Cow,
Grauzone,
The Walker Brothers,
Circle Jerks, Circle Jerks, Circle Jerks, Circle Jerks.
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.