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 Nigeria and from Milan.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Beijing.
I'm losing my edge to the art-school Mexico City 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Spandau Ballet to the grime kids.
I played it at the Roxy.
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 Sixth Finger. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Eric B and Rakim record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare,
Mars,
PIL,
Big Daddy Kane,
Anthony Braxton,
Sound Behaviour,
The Smoke,
Rhythim Is Rhythim,
Lizzy Mercier Descloux,
Junior Murvin,
Joe Smooth,
Icehouse,
The Stooges,
Scion,
A Certain Ratio,
Eden Ahbez,
Gary Puckett & The Union Gap,
Wire,
Pantytec,
Dead Boys,
The Dead C,
Los Fastidios,
Cabaret Voltaire,
Altered Images,
Flamin' Groovies,
Aswad,
The Moody Blues,
Carl Craig,
Neil Young,
The Golliwogs,
Blossom Toes,
Boredoms,
Aaron Thompson,
Rapeman,
Dawn Penn,
The Toasters,
LL Cool J,
Mandrill,
The Sound,
The Five Americans,
The Techniques,
Silicon Teens,
The Fall,
Clear Light,
Lou Christie,
Pulsallama,
Porter Ricks,
Fad Gadget,
Byron Stingily,
Joe Finger,
EPMD,
AZ,
Visionaries,LMNO, T- Love & Iriscience,
Fort Wilson Riot,
Lafayette Afro Rock Band,
Underground Resistance,
The Young Rascals,
Pantaleimon,
Gil Scott-Heron & Brian Jackson,
Jerry Gold Smith,
In Retrospect,
Dennis Brown,
Albert Ayler,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.