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 Venezuela 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 1970.
I'm losing my edge.
To all the kids in Johannesburg and Spokane.
I'm losing my edge to the art-school Johannesburg 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 1979 at the first Josef K practice in a loft in Edinburgh.
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 Mantronix to the dance 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 Sad Lovers and Giants. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Unwound record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
The Smiths,
Faraquet,
Make Up,
Notorious BIG live in Amsterdam,
The West Coast Pop Art Experimental Band,
Lou Reed,
Au Pairs,
Barrington Levy,
Darondo,
the Germs,
Visage,
The Litter,
cv313,
Intrusion,
Urselle,
Bobby Hutcherson,
Selector Dub Narcotic,
The Evens,
Nick Cave & The Bad Seeds,
PIL,
The Last Poets,
Aloha Tigers,
Black Moon,
Deakin,
the Soft Cell,
The Gories,
Sight & Sound,
Mary Jane Girls,
Zero Boys,
DeepChord presents Echospace,
Gary Puckett & The Union Gap,
Stereo Dub,
Tubeway Army,
U.S. Maple,
Dorothy Ashby,
Jeff Mills,
Essential Logic,
The Slackers,
Drexciya,
Junior Murvin,
Erykah Badu,
The Index,
Jesper Dahlbäck,
Black Pus,
Sun Ra Arkestra,
Half Japanese,
Warsaw,
X-101,
Crash Course in Science,
Roy Ayers,
Blake Baxter,
Kas Product,
Masters at Work,
Dark Day,
The Slits,
Slave,
Minor Threat,
Nas,
Public Image Ltd.,
Peter Gordon & Love of Life Orchestra,
Nik Kershaw,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.