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 New Zealand and from Cairo.
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 1975.
I'm losing my edge.
To all the kids in Hong Kong and Salvador.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 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 Stereo Dub to the grime kids.
I played it at the Spitz.
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 Echospace. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Pulsallama record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Five Americans record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Thee Headcoats,
Malaria!,
Ludus,
Eli Mardock,
Tim Buckley,
Anakelly,
Peter Gordon & Love of Life Orchestra,
The Mighty Diamonds,
Banda Bassotti,
Sugar Minott,
Brothers Johnson,
Leonard Cohen,
Dark Day,
Adolescents,
Isaac Hayes,
Aloha Tigers,
Kurtis Blow,
DNA,
Eurythmics,
Electric Prunes,
Derrick Morgan,
Pantytec,
Rekid,
Lebanon Hanover,
Electric Light Orchestra,
Graham Central Station,
Moss Icon,
Donald Byrd,
Gabor Szabo,
Intrusion,
The Grass Roots,
Boogie Down Productions,
Pussy Galore,
Bob Dylan,
Black Bananas,
cv313,
Janne Schatter,
Dennis Brown,
Flash Fearless,
Alison Limerick,
Glenn Branca,
Sexual Harrassment,
Judy Mowatt,
Jacob Miller,
Ultimate Spinach,
The Associates,
The Busters,
Jesper Dahlbäck,
Harry Pussy,
Amazonics,
The Peanut Butter Conspiracy,
Soulsonic Force,
Sun Ra Arkestra,
The Gap Band,
Ken Boothe,
Motorama,
Minutemen,
The Residents,
H. Thieme,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.