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 Mexico and from Tokyo.
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 1972.
I'm losing my edge.
To all the kids in Halifax and Cairo.
I'm losing my edge to the art-school London 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the spring reverb 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 Alphaville to the electroclash kids.
I played it at the Troubador.
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 Rufus Thomas. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Todd Terry 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a N.O.R.E. Featuring Pharrell record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
K-Klass,
Fear,
Graham Central Station,
Jeru the Damaja,
Marcia Griffiths,
Loose Ends,
Soulsonic Force,
The Residents,
Michelle Simonal,
The Busters,
Prince Buster,
David McCallum,
Mantronix,
Audionom,
Soul II Soul,
Pantytec,
Little Man,
Average White Band,
Surgeon,
Los Fastidios,
Scientists,
Red Lorry Yellow Lorry,
The Angels of Light,
T. Rex,
Television Personalities,
Lalann,
Neu!,
Pere Ubu,
Pantaleimon,
MDC,
Bootsy Collins,
Flash Fearless,
Ituana,
Excepter,
Ultimate Spinach,
The Remains,
Khruangbin,
Bizarre Inc.,
Joe Smooth,
Peter & Gordon,
Banda Bassotti,
The Fire Engines,
Deepchord,
Ohio Players,
Index,
Rod Modell,
Suicide,
Lou Reed & Metallica,
Ken Boothe,
KRS-One,
Andrew Hill,
Flamin' Groovies,
Wasted Youth,
Cabaret Voltaire,
Grauzone,
Byron Stingily,
The Blackbyrds,
Unwound,
Echo & the Bunnymen,
Pet Shop Boys,
The Saints,
Eric B and Rakim,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.