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 Madagascar and from Cairo.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Lille and Lyon.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Newcleus to the dance kids.
I played it at CBGB's.
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 The Fall. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Tropical Tobacco 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 '80s cut and another box set from the '70s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
Heavy D & The Boyz,
ABC,
The Jesus and Mary Chain,
The Seeds,
Eric Copeland,
Girls At Our Best!,
Roxy Music,
Zero Boys,
The Martian,
Icehouse,
Surgeon,
Mr. Review,
The Count Five,
Avey Tare & Kría Brekkan,
The Gun Club,
Ituana,
Youth Brigade,
Howard Jones,
Monolake,
The Flesh Eaters,
John Holt,
AZ,
Glenn Branca,
Black Bananas,
Mo-Dettes,
DeepChord presents Echospace,
Scrapy,
Young Marble Giants,
Rites of Spring,
Radio Birdman,
Sun Ra,
Ossler,
Sun City Girls,
Buzzcocks,
Franke,
Avey Tare's Slasher Flicks,
Rhythm & Sound,
In Retrospect,
Motorama,
The J.B.'s,
Clear Light,
H. Thieme,
Hardrive,
Boredoms,
X-101,
Sixth Finger,
Joy Division,
Marine Girls,
The Fuzztones,
Fat Boys,
Harry Pussy,
EPMD,
Gichy Dan,
Strawberry Alarm Clock,
Skarface,
Pole,
Swell Maps,
Letta Mbulu,
Popol Vuh,
Rotary Connection,
Royal Trux,
F. McDonald,
Ohio Players,
Index, Index, Index, Index.
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.