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 New Zealand and from Manila.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Taipei and Bologna.
I'm losing my edge to the art-school Madrid 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 Sparks to the dance kids.
I played it at the 40 Watt.
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 Ohio Players. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every Tropical Tobacco record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
X-101,
James Chance & The Contortions,
CMW,
Main Source,
Cabaret Voltaire,
The West Coast Pop Art Experimental Band,
Nirvana,
Art Ensemble Of Chicago,
The Techniques,
Gil Scott-Heron and Jamie xx,
Tommy Roe,
Janne Schatter,
Eric Copeland,
Ultramagnetic MC's,
Sam Rivers,
Procol Harum,
The Selecter,
Kool Moe Dee,
Motorama,
Crime,
Nas,
Country Teasers,
Maurizio,
Vainqueur,
Lower 48,
In Retrospect,
The Dirtbombs,
Alison Limerick,
Massinfluence,
Bobbi Humphrey,
Gregory Isaacs,
Todd Terry,
Crispy Ambulance,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Nick Cave & The Bad Seeds,
Röyhkä ja Rättö ja Lehtisalo,
The Sisters of Mercy,
The Fortunes,
Bobby Sherman,
Warsaw,
Andrew Hill,
Index,
Livin' Joy,
Ken Boothe,
Traffic Nightmare,
Soft Cell,
Banda Bassotti,
Panda Bear,
MDC,
Roxy Music,
Lizzy Mercier Descloux,
June Days,
Crispian St. Peters,
Harry Pussy,
Josef K,
Easy Going,
Vaughan Mason & Crew,
Sugar Minott,
Nick Fraelich,
Skarface,
Bob Dylan,
Barclay James Harvest,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.