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 Armenia and from Lagos.
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 1977.
I'm losing my edge.
To all the kids in Edmonton and Mumbai.
I'm losing my edge to the art-school Edmonton 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin 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 Pete Rock & C.L. Smooth to the punk kids.
I played it at the Spitz.
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 Circle Jerks. All the underground hits.
All Joy Division tracks. I heard you have a vinyl of every Bush Tetras record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
Moss Icon,
the Human League,
The Index,
CMW,
Lalann,
The United States of America,
Orchestral Manoeuvres in the Dark,
Amon Düül,
The Buckinghams,
Alton Ellis,
Brass Construction,
Lalo Schifrin,
Alphaville,
Jeru the Damaja,
Visage,
Kango’s Stein Massive,
Harry Pussy,
the Soft Cell,
Soft Machine,
Wings,
Traffic Nightmare,
The Wake,
Fluxion,
Blossom Toes,
Junior Murvin,
Loose Ends,
James Chance & The Contortions,
Lakeside,
Supertramp,
The Mojo Men,
Rahsaan Roland Kirk,
The Remains,
Jesper Dahlbäck,
Inner City,
Maleditus Sound,
DNA,
Shoche,
Gil Scott Heron,
Pete Rock & C.L. Smooth,
Mark Hollis,
The Cure,
Ten City,
Country Joe & The Fish,
Don Cherry,
Yazoo,
Agent Orange,
Lonnie Liston Smith,
Ralphi Rosario,
Talk Talk,
Amazonics,
cv313,
John Foxx,
Wasted Youth,
Erykah Badu,
Rites of Spring,
Bobby Hutcherson,
Lizzy Mercier Descloux,
Marmalade,
Fugazi,
Anakelly,
The Evens, The Evens, The Evens, The Evens.
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.