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 San Marino and from Cairo.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Glasgow.
I'm losing my edge to the art-school Bremen 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Eli Mardock to the grime kids.
I played it at the Roxy.
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 Technova. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Jerry Gold Smith record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxy Music,
Stereo Dub,
ABBA,
Avey Tare's Slasher Flicks,
Heaven 17,
Visage,
Popol Vuh,
Gregory Isaacs,
The Tremeloes,
Wire,
Slave,
Roy Ayers Ubiquity,
The Velvet Underground,
The Black Dice,
DeepChord presents Echospace,
Tom Boy,
Grey Daturas,
This Heat,
The Men They Couldn't Hang,
Harmonia,
Davy DMX,
Y Pants,
Sarah Menescal,
Delta 5,
Mary Jane Girls,
Little Man,
Gang Green,
Arab on Radar,
Jeff Mills,
The Sonics,
Sixth Finger,
Stetsasonic,
Bizarre Inc.,
Underground Resistance,
The Gladiators,
Deutsch Amerikanische Freundschaft,
The Cure,
The Star Department,
Agent Orange,
The Chocolate Watch Band,
Jerry Gold Smith,
Quando Quango,
The Selecter,
the Germs,
Selector Dub Narcotic,
Bobby Womack,
The Invisible,
Sight & Sound,
Andrew Ashong & Theo Parrish,
Eurythmics,
The Litter,
Marvin Gaye,
Warsaw,
Darondo,
Reagan Youth,
The Monks,
Byron Stingily,
Urselle,
Roxette,
Duran Duran,
Bobby Sherman,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
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.