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 Kyrgyzstan and from Lagos.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Beijing.
I'm losing my edge to the art-school Halifax 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 mellotron 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 Gil Scott-Heron and Jamie xx to the dance 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 Alison Limerick. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Echo & the Bunnymen,
Unrelated Segments,
The Men They Couldn't Hang,
Young Marble Giants,
48th St. Collective,
Crispian St. Peters,
Jeru the Damaja,
Rotary Connection,
Excepter,
Donny Hathaway,
Roy Ayers,
The Velvet Underground,
Icehouse,
Prince Buster,
The Human League,
Pere Ubu,
Essential Logic,
Tommy Roe,
Robert Hood,
Pylon,
The Names,
Bootsy Collins,
Lower 48,
Brass Construction,
Half Japanese,
The American Breed,
Slave,
Sonny Sharrock,
Brand Nubian,
Red Lorry Yellow Lorry,
Country Teasers,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Gap Band,
A Flock of Seagulls,
Moby Grape,
Soul Sonic Force,
Skarface,
The Buckinghams,
Liaisons Dangereuses,
ABBA,
H. Thieme,
Wighnomy Brothers & Robag Wruhme,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Blake Baxter,
Quantec,
Terry Callier,
Michelle Simonal,
Roxy Music,
Eddi Front,
Marcia Griffiths,
E-Dancer,
Brothers Johnson,
Inner City,
Todd Rundgren,
Lizzy Mercier Descloux,
Danielle Patucci,
The Walker Brothers,
Drive Like Jehu,
Boogie Down Productions,
Bauhaus,
MDC,
Pussy Galore, Pussy Galore, Pussy Galore, Pussy Galore.
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.