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 Tuvalu and from Edmonton.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Madrid and Seoul.
I'm losing my edge to the art-school Copenhagen 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the marimba 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 Barbara Tucker to the techno 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 One Last Wish. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every Anthony Braxton 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
Main Source,
Pete Rock & C.L. Smooth,
Black Pus,
The Move,
The United States of America,
Junior Murvin,
Delta 5,
Joyce Sims,
Jeff Mills,
Flash Fearless,
Frankie Knuckles,
Roy Ayers Ubiquity,
Icehouse,
Country Joe & The Fish,
Negative Approach,
The Five Americans,
The Mummies,
Lucky Dragons,
Richard Hell and the Voidoids,
Reuben Wilson,
Soul II Soul,
Hot Snakes,
Cheater Slicks,
Big Daddy Kane,
Harpers Bizarre,
Brick,
Anakelly,
Danielle Patucci,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Crash Course in Science,
Kas Product,
Black Moon,
Grey Daturas,
Todd Terry,
Agent Orange,
Whodini,
Second Layer,
Black Flag,
Young Marble Giants,
Mark Hollis,
Peter & Gordon,
Sad Lovers and Giants,
Crispy Ambulance,
Darondo,
Crooked Eye,
Wighnomy Brothers & Robag Wruhme,
Jacob Miller,
Idris Muhammad,
Nick Fraelich,
Section 25,
Rosa Yemen,
Neil Young & Crazy Horse,
Be Bop Deluxe,
The Fortunes,
Howard Jones,
The Smoke,
JFA,
Brothers Johnson,
The Searchers,
Lindisfarne,
Wolf Eyes,
Jesper Dahlbäck,
Kurtis Blow, Kurtis Blow, Kurtis Blow, Kurtis Blow.
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.