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 Latvia and from Madrid.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1962 to 1976.
I'm losing my edge.
To all the kids in Delhi and Bremen.
I'm losing my edge to the art-school Woodstock 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 organ 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 Bootsy Collins to the disco 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 Orchestral Manoeuvres in the Dark. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal techno 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 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
Eyeless In Gaza,
Lou Reed,
Thinking Fellers Union Local 282,
Television Personalities,
the Slits,
The Moleskins,
Country Teasers,
The Walker Brothers,
New York Dolls,
Lindisfarne,
Avey Tare's Slasher Flicks,
Ohio Players,
World's Most,
Minnie Riperton,
Animal Collective,
Lizzy Mercier Descloux,
Soft Machine,
Pantaleimon,
The Shadows of Knight,
Black Bananas,
Brothers Johnson,
Gregory Isaacs,
Tears for Fears,
The Fortunes,
Neil Young & Crazy Horse,
8 Eyed Spy,
Fatback Band,
X-101,
Dawn Penn,
Minor Threat,
The West Coast Pop Art Experimental Band,
Marc Almond,
Piero Umiliani,
Big Daddy Kane,
Pussy Galore,
Rites of Spring,
DJ Style,
Howard Jones,
New Age Steppers,
FM Einheit,
The Smiths,
Popol Vuh,
Louis and Bebe Barron,
Vaughan Mason & Crew,
Fluxion,
DeepChord presents Echospace,
Sexual Harrassment,
Crispian St. Peters,
Subhumans,
Red Lorry Yellow Lorry,
Stetsasonic,
Japan,
Los Fastidios,
Stiv Bators,
Graham Central Station,
Michelle Simonal,
Sun Ra Arkestra,
X-Ray Spex,
The Happenings,
Negative Approach,
Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose.
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.