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 Jamaica and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Lyon and Bologna.
I'm losing my edge to the art-school Toronto 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb 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 The Music Machine to the electroclash kids.
I played it at Trash.
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 A Certain Ratio. All the underground hits.
All Camouflage tracks. I heard you have a vinyl of every Bad Manners record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Ten City,
Red Lorry Yellow Lorry,
Rotary Connection,
Vaughan Mason & Crew,
Subhumans,
Urselle,
Yazoo,
Pole,
Al Stewart,
X-Ray Spex,
Visage,
Lonnie Liston Smith,
Derrick Morgan,
Shoche,
Byron Stingily,
The Star Department,
Traffic Nightmare,
Chrome,
The Searchers,
June of 44,
The Sisters of Mercy,
Curtis Mayfield,
The Walker Brothers,
Minnie Riperton,
The Five Americans,
The Jesus and Mary Chain,
The Kinks,
Roy Ayers Ubiquity,
Kings Of Tomorrow,
Kerri Chandler,
Khruangbin,
Niagra,
The West Coast Pop Art Experimental Band,
X-102,
Cluster,
Faust,
Porter Ricks,
Johnny Osbourne,
Franke,
Rosa Yemen,
Thee Headcoats,
The Golliwogs,
Morten Harket,
Magazine,
The Pop Group,
Man Eating Sloth,
MC5,
Aaron Thompson,
Donald Byrd,
cv313,
Siglo XX,
Basic Channel,
Absolute Body Control,
Orchestral Manoeuvres in the Dark,
A Certain Ratio,
Depeche Mode,
Marine Girls,
Magma,
Liliput,
Ohio Players,
Dorothy Ashby,
Minor Threat, Minor Threat, Minor Threat, Minor Threat.
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.