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 Swaziland and from Accra.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1967 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Stockholm.
I'm losing my edge to the art-school Copenhagen 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Deepchord to the electroclash 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 Roy Ayers Ubiquity. All the underground hits.
All Nick Cave & The Bad Seeds tracks. I heard you have a vinyl of every The Shadows of Knight record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
The Detroit Cobras,
The Vogues,
Moebius,
Eli Mardock,
D'Angelo,
Marvin Gaye,
Unwound,
Grandmaster Flash and the Furious Five,
Iggy Pop,
Super Lover Cee & Casanova Rud,
The Neon Judgement,
the Swans,
Chris & Cosey,
Todd Terry,
Erasure,
Matthew Halsall,
Fatback Band,
The Fire Engines,
The Real Kids,
Avey Tare,
Jeff Mills,
Depeche Mode,
Don Cherry,
Black Moon,
Tubeway Army,
the Human League,
Connie Case,
Aaron Thompson,
Vladislav Delay,
These Immortal Souls,
Siglo XX,
Television,
Traffic Nightmare,
The Toasters,
Brass Construction,
Supertramp,
The Standells,
The Peanut Butter Conspiracy,
Ice-T,
Mary Jane Girls,
The Modern Lovers,
The Dead C,
Todd Rundgren,
Royal Trux,
Reagan Youth,
New York Dolls,
Chrome,
Blancmange,
Flash Fearless,
The Stooges,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sarah Menescal,
The Monks,
Rhythm & Sound,
Interpol,
Crash Course in Science,
Kerrie Biddell,
Sad Lovers and Giants,
Panda Bear,
John Cale,
Teenage Jesus and the Jerks,
Dennis Brown, Dennis Brown, Dennis Brown, Dennis Brown.
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.