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 Qatar and from Manchester.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Mexico City.
I'm losing my edge to the art-school Tehran 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 sitar sounds with much patience.
I was there when Lou Reed 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 Slits to the grime kids.
I played it at CBGB's.
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 Peter Gordon & Love of Life Orchestra. All the underground hits.
All The Beau Brummels tracks. I heard you have a vinyl of every The Seeds record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
Interpol,
China Crisis,
Urselle,
Public Image Ltd.,
Sunsets and Hearts,
Piero Umiliani,
Babytalk,
Fort Wilson Riot,
Ice-T,
Althea and Donna,
Soft Cell,
Television,
A Certain Ratio,
Frankie Knuckles,
Sarah Menescal,
Basic Channel,
Mandrill,
Stockholm Monsters,
Shoche,
Au Pairs,
The Fire Engines,
Rowland S Howard / Lydia Lunch,
Lalo Schifrin,
Wally Richardson,
Pylon,
Pete Rock & C.L. Smooth,
Al Stewart,
Mr. Review,
The Litter,
Hardrive,
The Associates,
Minor Threat,
Liaisons Dangereuses,
Vainqueur,
Isaac Hayes,
Kaleidoscope,
Maurizio,
Joe Finger,
Radio Birdman,
Gerry Rafferty,
Japan,
Kool Moe Dee,
The Men They Couldn't Hang,
Pharoah Sanders,
Tomorrow,
Oblivians,
Scratch Acid,
Ronan,
Rakim,
Buzzcocks,
John Foxx,
Bang on a Can All-Stars,
Model 500,
Kurtis Blow,
Marine Girls,
Vladislav Delay,
Soul II Soul,
U.S. Maple,
Slick Rick,
Rosa Yemen,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.