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 United States and from Lagos.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Shanghai.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Lungfish to the grime 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 Alton Ellis. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Bronski Beat,
Scott Walker,
The Selecter,
Kayak,
The Fall,
Avey Tare's Slasher Flicks,
Flamin' Groovies,
Rhythm & Sound,
The Gap Band,
KRS-One,
Y Pants,
Swans,
Loose Ends,
Thee Headcoats,
The Slackers,
Roger Hodgson,
Radio Birdman,
Sam Rivers,
Amon Düül,
Lebanon Hanover,
Dark Day,
Todd Rundgren,
Rowland S Howard / Lydia Lunch,
Sonny Sharrock,
Barrington Levy,
De La Soul & Jungle Brothers,
The Gladiators,
DeepChord presents Echospace,
Ossler,
10cc,
Oblivians,
Shoche,
Barbara Tucker,
Heavy D & The Boyz,
Max Romeo,
Arthur Verocai,
The Doors,
Yellowson,
Mars,
Moss Icon,
Minor Threat,
Young Marble Giants,
48th St. Collective,
Joey Negro,
Country Joe & The Fish,
Ludus,
DNA,
Oppenheimer Analysis,
Hashim,
David McCallum,
Mr. Review,
Lou Christie,
The Cramps,
Manfred Mann's Earth Band,
Skaos,
Black Pus,
The Move, The Move, The Move, The Move.
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.