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 Tunisia and from Milan.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Cairo.
I'm losing my edge to the art-school Tokyo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the theremin sounds with much patience.
I was there when Nile Rodgers 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 Popol Vuh to the techno kids.
I played it at the 40 Watt.
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 Tres Demented. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every Crooked Eye record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Nik Kershaw record.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
Malaria!,
the Association,
Bobby Hutcherson,
The Star Department,
Popol Vuh,
Orchestral Manoeuvres in the Dark,
K-Klass,
The Music Machine,
Deepchord,
Bauhaus,
the Slits,
Can,
Scratch Acid,
The Busters,
Liaisons Dangereuses,
The Velvet Underground,
Gil Scott-Heron & Brian Jackson,
Blake Baxter,
Section 25,
Pere Ubu,
Sun Ra Arkestra,
Terrestrial Tones,
The Grass Roots,
Radio Birdman,
Warsaw,
Peter and Kerry,
Crash Course in Science,
John Holt,
Major Organ And The Adding Machine,
Cal Tjader,
Negative Approach,
Japan,
John Lydon,
Terry Callier,
Drexciya,
Lower 48,
N.O.R.E. Featuring Pharrell,
Lou Reed & Metallica,
Ralphi Rosario,
Kevin Saunderson,
A Certain Ratio,
Maleditus Sound,
Spandau Ballet,
Angels of Light & Akron/Family,
H. Thieme,
Joyce Sims,
Oblivians,
London Community Gospel Choir,
Nick Cave & The Bad Seeds,
Darondo,
Sunsets and Hearts,
The Gun Club,
David Axelrod,
Skarface,
Camberwell Now,
Henry Cow,
Pet Shop Boys,
Neu!,
Byron Stingily,
The Barracudas,
Ossler, Ossler, Ossler, Ossler.
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.