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 Haiti and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Bremen and Madrid.
I'm losing my edge to the art-school Johannesburg 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Bootsy Collins to the crunk 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 Babytalk. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Television Personalities record on German import.
I heard that you have a white label of every seminal crunk 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 a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hoover,
Q and Not U,
Notorious BIG live in Amsterdam,
Cameo,
Model 500,
Technova,
Pagans,
Alice Coltrane,
Television,
This Heat,
James Chance & The Contortions,
Ronnie Foster,
Byron Stingily,
Gil Scott-Heron & Brian Jackson,
Derrick May,
Yaz,
Amon Düül,
Fear,
Excepter,
Scott Walker,
Buzzcocks,
Los Fastidios,
The Cure,
Can,
Rufus Thomas,
Harmonia,
Lindisfarne,
Delta 5,
Quantec,
The Fire Engines,
Bobby Byrd,
Leonard Cohen,
Radiohead,
Skaos,
Drexciya,
The Standells,
The Move,
New Age Steppers,
Althea and Donna,
Marcia Griffiths,
Lafayette Afro Rock Band,
Jawbox,
New York Dolls,
John Foxx,
Animal Collective,
Faraquet,
Dead Boys,
Toni Rubio,
Lungfish,
Louis and Bebe Barron,
Yellowson,
The Walker Brothers,
Sandy B,
Kevin Saunderson,
Bill Wells,
Depeche Mode,
Symarip,
Big Daddy Kane,
Fatback Band,
The Chocolate Watch Band,
Idris Muhammad,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.