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 Cambodia and from Mumbai.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1972.
I'm losing my edge.
To all the kids in Shanghai and Madrid.
I'm losing my edge to the art-school Cairo 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 rhodes 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 Todd Rundgren to the rock kids.
I played it at the Crocodile.
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 The Pretty Things. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every The Motions 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Rapeman,
Echospace,
Fort Wilson Riot,
The Alarm Clocks,
Ronan,
The Litter,
Aaron Thompson,
Skaos,
Fatback Band,
Newcleus,
Andrew Hill,
Donny Hathaway,
Depeche Mode,
The Victims,
Lonnie Liston Smith,
The Dirtbombs,
Flipper,
Cabaret Voltaire,
Grandmaster Flash,
The Offenders,
In Retrospect,
Ultravox,
The American Breed,
Slave,
Crime,
Kango’s Stein Massive,
Rufus Thomas,
The Saints,
Mr. Review,
The Walker Brothers,
Malaria!,
Delon & Dalcan,
Avey Tare,
Youth Brigade,
Barbara Tucker,
The Zeros,
Prince Buster,
Monolake,
Blancmange,
Ten City,
Kaleidoscope,
Schoolly D,
Barrington Levy,
Larry & the Blue Notes,
The Detroit Cobras,
Albert Ayler,
Peter & Gordon,
UT,
Unrelated Segments,
This Heat,
Bootsy's Rubber Band,
Boogie Down Productions,
KRS-One,
Ultramagnetic MC's,
ABC,
Motorama,
Kas Product,
The Fall,
Carl Craig,
Drive Like Jehu,
Bill Wells,
Roxette,
Spandau Ballet,
Camron Feat. Memphis Bleek And Beenie Seigel, Camron Feat. Memphis Bleek And Beenie Seigel, Camron Feat. Memphis Bleek And Beenie Seigel, Camron Feat. Memphis Bleek And Beenie Seigel.
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.