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 Colombia and from Philadelphia.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1968 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Hong Kong.
I'm losing my edge to the art-school Lyon 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Roxy.
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 Grey Daturas. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every Ten City 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Jeff Lynne,
The Peanut Butter Conspiracy,
The Trojans,
The Slackers,
Alison Limerick,
Red Lorry Yellow Lorry,
Michelle Simonal,
The Neon Judgement,
The Jesus and Mary Chain,
Zero Boys,
Bob Dylan,
The Victims,
Underground Resistance,
Jeff Mills,
Sun Ra Arkestra,
Tropical Tobacco,
Camron Feat. Memphis Bleek And Beenie Seigel,
Dead Boys,
Barbara Tucker,
Pharaoh Sanders and the Fire Engines,
Fela Kuti,
Letta Mbulu,
Wolf Eyes,
Sex Pistols,
The West Coast Pop Art Experimental Band,
Goldenarms,
The New Christs,
Notorious Big And Bone Thugs,
Brick,
Lou Reed,
Piero Umiliani,
The Misunderstood,
Black Flag,
X-101,
the Bar-Kays,
Ultramagnetic MC's,
The Gap Band,
Negative Approach,
Stiv Bators,
F. McDonald,
The American Breed,
One Last Wish,
The Tremeloes,
Ken Boothe,
Moby Grape,
The Doors,
Lebanon Hanover,
10cc,
Andrew Ashong & Theo Parrish,
Cybotron,
The Names,
Groovy Waters,
Eyeless In Gaza,
kango's stein massive,
Marvin Gaye,
Slave,
Strawberry Alarm Clock,
Graham Central Station,
Silicon Teens,
Girls At Our Best!,
Moebius,
MDC, MDC, MDC, MDC.
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.