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 Botswana and from Stockholm.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1971.
I'm losing my edge.
To all the kids in Manila and Lille.
I'm losing my edge to the art-school Lagos 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the harpsichord sounds with much patience.
I was there when Holger Czukay 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 Public Enemy to the techno 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 Association. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every Public Image Ltd. record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a güiro 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 chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Tomorrow,
CMW,
Justin Hinds & The Dominoes,
Jeff Mills,
Agitation Free,
Anakelly,
Grandmaster Flash,
The Trojans,
Gang Gang Dance,
Sam Rivers,
Niagra,
Black Pus,
Au Pairs,
The Jesus and Mary Chain,
Pierre Henry,
New York Dolls,
The Happenings,
Derrick May,
This Heat,
Red Lorry Yellow Lorry,
Arab on Radar,
Crash Course in Science,
Fatback Band,
X-102,
DNA,
Ultramagnetic MC's,
Essential Logic,
Harmonia,
The Cowsills,
Rakim,
Scrapy,
Neu!,
MC5,
Scott Walker,
Y Pants,
Minnie Riperton,
Moss Icon,
Audionom,
X-Ray Spex,
Throbbing Gristle,
Sad Lovers and Giants,
Agent Orange,
The Raincoats,
Gang Green,
Teenage Jesus and the Jerks,
Public Image Ltd.,
Deepchord,
The Tremeloes,
Half Japanese,
Kauko Röyhkä ja Narttu,
Joy Division,
Gerry Rafferty,
Suburban Knight,
Swell Maps,
Joe Smooth,
The Index,
Moebius,
Vladislav Delay,
Max Romeo,
Monks,
Ultravox,
Interpol, Interpol, Interpol, Interpol.
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.