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 Egypt and from Seoul.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Edmonton and Taipei.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 The American Breed to the grime 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 Liaisons Dangereuses. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Grandmaster Flash 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 '80s cut and another box set from the '90s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Jimmy McGriff record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
The Detroit Cobras,
The Dead C,
T.S.O.L.,
Charles Mingus,
Moebius,
Heavy D & The Boyz,
Deutsch Amerikanische Freundschaft,
48th St. Collective,
Wighnomy Brothers & Robag Wruhme,
Anakelly,
Tropical Tobacco,
The Kinks,
Qualms,
Marmalade,
Alton Ellis,
Royal Trux,
Icehouse,
X-101,
Oppenheimer Analysis,
Bobby Sherman,
The Gladiators,
Technova,
Kayak,
Aaron Thompson,
Fad Gadget,
Glambeats Corp.,
De La Soul & Jungle Brothers,
Mission of Burma,
Newcleus,
Ralphi Rosario,
Justin Hinds & The Dominoes,
Flipper,
X-102,
John Foxx,
Marc Romboy vs. Booka Shade,
Swans,
Procol Harum,
Ituana,
New Order,
Crash Course in Science,
The Victims,
The Names,
Rotary Connection,
Wire,
Notorious BIG live in Amsterdam,
The Seeds,
Whodini,
Kas Product,
the Human League,
Ultravox,
Visage,
The Martian,
Susan Cadogan,
New Age Steppers,
Peter & Gordon,
the Sonics,
Inner City,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.