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 El Salvador and from Glasgow.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Milan and Tehran.
I'm losing my edge to the art-school Jakarta 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the güiro 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 Icehouse to the disco kids.
I played it at the Troubador.
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 New Order. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every Theoretical Girls record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Fifty Foot Hose,
Wighnomy Brothers & Robag Wruhme,
Grandmaster Flash and the Furious Five,
The Grass Roots,
Ten City,
The Litter,
Barry Ungar,
Archie Shepp,
Spoonie Gee,
The United States of America,
The Doors,
Lizzy Mercier Descloux,
Negative Approach,
Cymande,
Jimmy McGriff,
ABBA,
Wolf Eyes,
The Dead C,
The Monochrome Set,
It's A Beautiful Day,
The Star Department,
New York Dolls,
The Young Rascals,
Scott Walker,
David McCallum,
The Sonics,
Goldenarms,
Masters at Work,
Zero Boys,
Magazine,
Gregory Isaacs,
Crime,
Q65,
Big Daddy Kane,
Terry Callier,
Eli Mardock,
The Mummies,
D'Angelo,
Glambeats Corp.,
The Gories,
Reagan Youth,
Piero Umiliani,
Porter Ricks,
L. Decosne,
Camouflage,
Prince Buster,
PIL,
Harpers Bizarre,
Siglo XX,
Wasted Youth,
Sun City Girls,
Lyres,
Bronski Beat,
Minor Threat,
The Stooges,
Ultravox,
Quadrant,
Motorama,
Pussy Galore,
Larry & the Blue Notes,
Scan 7,
Black Pus,
Gil Scott-Heron and Jamie xx,
The Real Kids, The Real Kids, The Real Kids, The Real Kids.
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.