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 Columbus.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1963 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Milan.
I'm losing my edge to the art-school Madrid 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 arpeggiator 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 Basic Channel to the grunge kids.
I played it at the Astoria.
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 UT. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Nation of Ulysses record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Richard Hell and the Voidoids,
Glenn Branca,
the Normal,
Johnny Osbourne,
Khruangbin,
Ituana,
Jeff Mills,
Hoover,
Rapeman,
Bluetip,
Grandmaster Flash,
Marc Romboy vs. Booka Shade,
Franke,
Adolescents,
Lower 48,
Masters at Work,
Bobby Byrd,
The Men They Couldn't Hang,
Moby Grape,
Gang Gang Dance,
Animal Collective,
KRS-One,
Intrusion,
Young Marble Giants,
Angry Samoans,
Fat Boys,
The Misunderstood,
The Beau Brummels,
These Immortal Souls,
Delon & Dalcan,
Public Image Ltd.,
Vladislav Delay,
Bobby Hutcherson,
Stiv Bators,
Kevin Saunderson,
Gabor Szabo,
Matthew Bourne,
Pet Shop Boys,
Bang On A Can,
Derrick May,
Eden Ahbez,
Crash Course in Science,
Spandau Ballet,
Vainqueur,
Marine Girls,
Pharaoh Sanders and the Fire Engines,
Excepter,
Black Bananas,
Peter Gordon & Love of Life Orchestra,
Jacob Miller,
the Fania All-Stars,
Mad Mike,
Fluxion,
The Vogues,
Scratch Acid,
Eli Mardock,
The Angels of Light,
Manfred Mann's Earth Band,
Erasure,
Girls At Our Best!,
Quando Quango,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.