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 Mali and from Salvador.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1968 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
I'm losing my edge to the art-school Toronto 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Cecil Taylor to the crunk 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 Eve St. Jones. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every Radio Birdman record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gun Club,
The Monochrome Set,
Avey Tare & Kría Brekkan,
Ultimate Spinach,
K-Klass,
China Crisis,
The Detroit Cobras,
Rapeman,
Kerri Chandler,
Supertramp,
Heavy D & The Boyz,
Technova,
Whodini,
The Monks,
Y Pants,
Gang Gang Dance,
Rufus Thomas,
Lindisfarne,
Alton Ellis,
Lizzy Mercier Descloux,
Lungfish,
The Shadows of Knight,
Rhythim Is Rhythim,
Dark Day,
Aswad,
Soft Machine,
Brass Construction,
Talk Talk,
MDC,
B.T. Express,
Kenny Larkin,
The Techniques,
Lou Reed & John Cale,
Eurythmics,
Jeru the Damaja,
Suicide,
Shuggie Otis,
Glambeats Corp.,
Ice-T,
Loose Ends,
Organ,
Kayak,
Eden Ahbez,
The Barracudas,
Dave Gahan,
Los Fastidios,
X-Ray Spex,
The Happenings,
Rites of Spring,
The Men They Couldn't Hang,
The Golliwogs,
Erykah Badu,
Gian Franco Pienzio,
Andrew Ashong & Theo Parrish,
Sparks,
Cybotron,
Nick Fraelich,
Lyres,
Bizarre Inc.,
Procol Harum,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.