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 Guatemala and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Lyon and Johannesburg.
I'm losing my edge to the art-school Stockholm 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Big Daddy Kane to the grunge 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 Warren Ellis. All the underground hits.
All X-101 tracks. I heard you have a vinyl of every Mr. Review record on German import.
I heard that you have a white label of every seminal punk 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Gil Scott-Heron and Jamie xx,
The Index,
Marshall Jefferson,
Suicide,
Notorious Big And Bone Thugs,
Manfred Mann's Earth Band,
Hoover,
Aaron Thompson,
Dawn Penn,
Magazine,
The Pop Group,
48th St. Collective,
Charles Mingus,
Minny Pops,
Larry & the Blue Notes,
The Black Dice,
Skarface,
The Slits,
Kaleidoscope,
Grandmaster Flash and the Furious Five,
Cal Tjader,
KRS-One,
Isaac Hayes,
Spandau Ballet,
The Techniques,
Godley & Creme,
Joy Division,
Pulsallama,
The Blackbyrds,
The Smiths,
Barclay James Harvest,
Eric B and Rakim,
Mad Mike,
Public Image Ltd.,
Tom Boy,
Gian Franco Pienzio,
The Standells,
Jawbox,
Dorothy Ashby,
Graham Central Station,
The Human League,
Tropical Tobacco,
The Buckinghams,
This Heat,
N.O.R.E. Featuring Pharrell,
Cymande,
Gang of Four,
Country Teasers,
Camberwell Now,
The Royal Family And The Poor,
Strawberry Alarm Clock,
Lonnie Liston Smith,
Nas,
Avey Tare,
Oneida,
Deakin,
Young Marble Giants,
Todd Terry,
ABBA,
Tomorrow,
The Sound,
Girls At Our Best!, Girls At Our Best!, Girls At Our Best!, Girls At Our Best!.
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.