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 Burkina and from Lille.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
I'm losing my edge to the art-school Edmonton 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Masters at Work 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 Black Sheep. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every The Dave Clark Five 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camouflage,
The Birthday Party,
Newcleus,
Dead Boys,
The Fire Engines,
Metal Thangz,
Das Ding,
Bizarre Inc.,
Piero Umiliani,
Charles Mingus,
Strawberry Alarm Clock,
the Normal,
Pere Ubu,
The Star Department,
Gary Puckett & The Union Gap,
Fort Wilson Riot,
Tears for Fears,
Tubeway Army,
The Buckinghams,
Fifty Foot Hose,
Gian Franco Pienzio,
a-ha,
Al Stewart,
Boogie Down Productions,
The Royal Family And The Poor,
Sex Pistols,
Cameo,
R.M.O.,
Alton Ellis,
The Gladiators,
Warsaw,
Marshall Jefferson,
Howard Jones,
the Association,
Dorothy Ashby,
Harry Pussy,
Aaron Thompson,
David Axelrod,
John Lydon,
The Fall,
Angry Samoans,
Hoover,
Neu!,
Soulsonic Force,
DeepChord presents Echospace,
Desert Stars,
Pete Rock & C.L. Smooth,
Bad Manners,
Lungfish,
Icehouse,
Youth Brigade,
Second Layer,
Hot Snakes,
Groovy Waters,
Albert Ayler,
Soul II Soul,
Angels of Light & Akron/Family,
Man Parrish,
The Associates,
Fluxion,
Hardrive,
Andrew Ashong & Theo Parrish,
Terror Squad Feat. Camron,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.