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 Dominican Republic 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 1962 to 1976.
I'm losing my edge.
To all the kids in Manila and Winnipeg.
I'm losing my edge to the art-school Manchester 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 Josef K practice in a loft in Edinburgh.
I was working on the rhodes sounds with much patience.
I was there when Michael McDonald 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 Half Japanese to the techno 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 Amon Düül. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Skatalites record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
De La Soul & Jungle Brothers,
Aswad,
Technova,
48th St. Collective,
Fluxion,
The Sound,
Kool G Rap & DJ Polo,
Faust,
The Knickerbockers,
Mark Hollis,
Cluster,
Guru Guru,
Joe Finger,
Chris Corsano,
Kenny Larkin,
Accadde A,
Howard Jones,
The Buckinghams,
Bill Wells,
the Human League,
Graham Central Station,
Excepter,
Reagan Youth,
Swans,
These Immortal Souls,
The Victims,
Tom Boy,
Faraquet,
Kool Moe Dee,
Grandmaster Flash and the Furious Five,
Deakin,
The Martian,
Radio Birdman,
Lou Christie,
Bronski Beat,
Be Bop Deluxe,
Second Layer,
Sonic Youth,
Agitation Free,
ABBA,
Sexual Harrassment,
Young Marble Giants,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
John Lydon,
Black Pus,
Bootsy's Rubber Band,
Boredoms,
The Smiths,
Vaughan Mason & Crew,
DJ Sneak,
Funky Four + One,
Mission of Burma,
Electric Light Orchestra,
Terrestrial Tones,
Hot Snakes,
Bobby Womack,
Funkadelic,
The Five Americans,
Goldenarms,
Gang of Four,
The Cramps,
The American Breed, The American Breed, The American Breed, The American Breed.
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.