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 Bolivia and from Copenhagen.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Manchester and Bremen.
I'm losing my edge to the art-school Columbus 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 The Birthday Party to the rap kids.
I played it at the Troubador.
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 R.M.O.. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Basic Channel 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barrington Levy,
Lalann,
Quando Quango,
The Move,
KRS-One,
Nation of Ulysses,
Agitation Free,
Dorothy Ashby,
Monks,
Nils Olav,
Depeche Mode,
Vainqueur,
Zero Boys,
Cabaret Voltaire,
The Five Americans,
Drexciya,
The Dead C,
The Divine Comedy,
The Evens,
Sun City Girls,
Cymande,
Moss Icon,
Soul II Soul,
Gong,
The Young Rascals,
Young Marble Giants,
Jandek,
the Germs,
Mo-Dettes,
Alphaville,
Pagans,
Alison Limerick,
Pere Ubu,
Ludus,
Throbbing Gristle,
Pierre Henry,
Stetsasonic,
Jacques Brel,
The Jesus and Mary Chain,
Siouxsie and the Banshees,
Barbara Tucker,
Barry Ungar,
Bauhaus,
Mad Mike,
Mandrill,
X-102,
Janne Schatter,
Public Image Ltd.,
Lou Reed & Metallica,
Dr. Dre and Snoop Doggy Dog,
Agent Orange,
Moebius,
Rites of Spring,
Sandy B,
Pharoah Sanders,
Suicide,
Wolf Eyes,
the Association,
Eric Dolphy,
Black Flag,
Grandmaster Flash,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.