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 Croatia and from Accra.
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 1970.
I'm losing my edge.
To all the kids in London and Winnipeg.
I'm losing my edge to the art-school Tokyo 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 1973 at the first Television practice in a loft in New York.
I was working on the guitar sounds with much patience.
I was there when Robert Palmer 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 Soul II Soul to the grime kids.
I played it at the Crocodile.
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 Gian Franco Pienzio. All the underground hits.
All Excepter tracks. I heard you have a vinyl of every Sun City Girls 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 an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub 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?
Eyeless In Gaza,
Brass Construction,
Teenage Jesus and the Jerks,
Rod Modell,
Kango’s Stein Massive,
Hot Snakes,
Fela Kuti,
Cymande,
The Skatalites,
Grauzone,
Bronski Beat,
T.S.O.L.,
The Real Kids,
Terrestrial Tones,
Pantytec,
New Age Steppers,
Warsaw,
Oneida,
Dave Gahan,
Essential Logic,
Siouxsie and the Banshees,
Vaughan Mason & Crew,
The Last Poets,
Jesper Dahlbäck,
Soul Sonic Force,
The Young Rascals,
Sonny Sharrock,
The Cure,
Rahsaan Roland Kirk,
Drive Like Jehu,
Kool Moe Dee,
Todd Terry,
Moebius,
Charles Mingus,
Wally Richardson,
Severed Heads,
Gil Scott Heron,
Quando Quango,
Maurizio,
Thompson Twins,
The Black Dice,
Intrusion,
Spandau Ballet,
Urselle,
Jeff Mills,
Big Daddy Kane,
Grey Daturas,
The Peanut Butter Conspiracy,
Section 25,
Heavy D & The Boyz,
Gerry Rafferty,
The Kinks,
Camberwell Now,
Strawberry Alarm Clock,
Supertramp,
The Smiths,
Babytalk,
Scan 7,
D'Angelo,
Young Marble Giants,
Harry Pussy,
DNA, DNA, DNA, DNA.
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.