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 San Marino and from Seoul.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Calgary and Salvador.
I'm losing my edge to the art-school Bremen 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 1978 at the first Visage practice in a loft in London.
I was working on the theremin 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 Hardrive to the grunge kids.
I played it at the Crocodile.
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 Alton Ellis. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Electric Light Orchestra 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Jesper Dahlbäck,
Eli Mardock,
Matthew Bourne,
Ronan,
Sight & Sound,
Mad Mike,
Lou Reed & John Cale,
Gil Scott-Heron & Brian Jackson,
The Monochrome Set,
Yazoo,
The Index,
Banda Bassotti,
Pussy Galore,
Crash Course in Science,
The Monks,
Lucky Dragons,
The Divine Comedy,
Pete Rock & C.L. Smooth,
Malaria!,
Maurizio,
Rowland S Howard / Lydia Lunch,
Nico,
Alison Limerick,
Lakeside,
Crispy Ambulance,
Absolute Body Control,
Anthony Braxton,
The Shadows of Knight,
Robert Görl,
Thompson Twins,
Curtis Mayfield,
Yaz,
Quantec,
Black Moon,
The Toasters,
Moby Grape,
Siouxsie and the Banshees,
New Order,
Ultra Naté,
Symarip,
Joensuu 1685,
The United States of America,
Freddie Wadling,
Basic Channel,
Man Eating Sloth,
Rahsaan Roland Kirk,
Beasts of Bourbon,
The Last Poets,
Carl Craig,
X-Ray Spex,
Gil Scott Heron,
Drive Like Jehu,
Rod Modell,
Archie Shepp,
Byron Stingily,
Art Ensemble Of Chicago,
Severed Heads,
Black Bananas,
Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson.
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.