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 Algeria and from Lagos.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Seoul.
I'm losing my edge to the art-school Delhi 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 808 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 The Vogues to the grunge kids.
I played it at Trash.
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 Underground Resistance. All the underground hits.
All Hoover tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal punk 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 snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
June of 44,
10cc,
Agent Orange,
John Foxx,
Louis and Bebe Barron,
Swans,
The Walker Brothers,
Absolute Body Control,
Grandmaster Flash and the Furious Five,
Heaven 17,
The Cramps,
Suburban Knight,
Bill Wells,
Joey Negro,
Simply Red,
X-101,
Roy Ayers,
Notorious Big And Bone Thugs,
Kas Product,
Sam Rivers,
Notorious BIG live in Amsterdam,
Drive Like Jehu,
Pagans,
Circle Jerks,
Judy Mowatt,
Interpol,
Flipper,
Cecil Taylor,
Neil Young & Crazy Horse,
Cluster,
Flash Fearless,
Alphaville,
Kerri Chandler,
Stiv Bators,
Blossom Toes,
Severed Heads,
Model 500,
Funkadelic,
Arcadia,
The Modern Lovers,
Thinking Fellers Union Local 282,
The Misunderstood,
Blancmange,
Darondo,
De La Soul & Jungle Brothers,
Cabaret Voltaire,
Man Eating Sloth,
In Retrospect,
Deutsch Amerikanische Freundschaft,
Joensuu 1685,
Ohio Players,
Godley & Creme,
K-Klass,
Derrick May,
Cymande,
Tim Buckley,
Lonnie Liston Smith,
Fear,
Black Pus, Black Pus, Black Pus, Black Pus.
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.