Infinitely Losing My Edge

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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 Russia and from New York.
But I was there.

I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1976.
I'm losing my edge.

To all the kids in London and Sao Paulo.
I'm losing my edge to the art-school Jakarta 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 mellotron 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 Pagans to the rock kids.
I played it at the Spitz.
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 Barrington Levy. All the underground hits.

All Kerrie Biddell tracks. I heard you have a vinyl of every Theoretical Girls record on German import.

I heard that you have a white label of every seminal grime 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 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.

I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.

I hear everybody that you know is more relevant than everybody that I know.

But have you seen my records?

Stiv Bators, Lou Reed & John Cale, Byron Stingily, Sandy B, Nirvana, Soulsonic Force, Deadbeat, Sarah Menescal, The Tremeloes, Lucky Dragons, Aural Exciters, Pantaleimon, Suicide, Lindisfarne, Barclay James Harvest, Wally Richardson, H. Thieme, Blossom Toes, Harpers Bizarre, Notorious BIG live in Amsterdam, Camron Feat. Jay Z And Juelz, The Birthday Party, Henry Cow, Teenage Jesus and the Jerks, Arthur Verocai, Wire, Roger Hodgson, Orchestral Manoeuvres in the Dark, Tears for Fears, Black Bananas, Organ, Eric Dolphy, Robert Görl, the Swans, Faust, the Normal, Don Cherry, The Mighty Diamonds, Man Eating Sloth, The Associates, Sam Rivers, Laurel Aitken, The Standells, Marine Girls, The Music Machine, The Dirtbombs, Johnny Clarke, 48th St. Collective, Swans, Kaleidoscope, Cabaret Voltaire, Soul II Soul, the Fania All-Stars, Joe Finger, Brick, The Men They Couldn't Hang, Visionaries,LMNO, T- Love & Iriscience, June Days, Gerry Rafferty, A Certain Ratio, Joensuu 1685, Minnie Riperton, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.

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.

A hack by Matthew Ogle who is very sorry to James Murphy and basically everyone (cheers to Darius and this for the late-night inspiration)