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 Comoros and from Spokane.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1969 to 1977.
I'm losing my edge.
To all the kids in Taipei and Bologna.
I'm losing my edge to the art-school Manchester 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 Second Layer practice in a loft in South London.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Lindisfarne to the grunge kids.
I played it at Cafe Wha.
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 Nils Olav. All the underground hits.
All Scott Walker + Sunn O))) tracks. I heard you have a vinyl of every The Doors 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 '60s cut and another box set from the '80s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
the Human League,
New Order,
Suburban Knight,
Eli Mardock,
Flipper,
Cybotron,
Negative Approach,
Max Romeo,
Soul II Soul,
The Pretty Things,
Yusef Lateef,
Mandrill,
Deepchord,
OOIOO,
Cabaret Voltaire,
the Germs,
Joey Negro,
Röyhkä ja Rättö ja Lehtisalo,
K-Klass,
The Detroit Cobras,
Make Up,
The Offenders,
Crash Course in Science,
Harmonia,
Yazoo,
Moby Grape,
Deutsch Amerikanische Freundschaft,
Neu!,
Depeche Mode,
A Certain Ratio,
Freddie Wadling,
Super Lover Cee & Casanova Rud,
The Martian,
The Mummies,
Grauzone,
Kool G Rap & DJ Polo,
Rowland S Howard / Lydia Lunch,
Todd Terry,
Bill Wells,
Underground Resistance,
Lizzy Mercier Descloux,
Lungfish,
R.M.O.,
Blake Baxter,
Bobby Byrd,
Selector Dub Narcotic,
Mo-Dettes,
Derrick May,
Rufus Thomas,
Parry Music,
The Music Machine,
H. Thieme,
Toni Rubio,
Bluetip,
Guru Guru,
The Searchers,
Reuben Wilson,
Gang Gang Dance,
Stereo Dub,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.