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 Canada and from Houston.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Lyon and Jakarta.
I'm losing my edge to the art-school Portland 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar 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 Cybotron to the electroclash kids.
I played it at the Hacienda.
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 Sun Ra Arkestra. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every The Mummies record on German import.
I heard that you have a white label of every seminal dance 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 clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Yellowson record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
EPMD,
Adolescents,
Scion,
Porter Ricks,
Curtis Mayfield,
Mandrill,
Deutsch Amerikanische Freundschaft,
Q and Not U,
Terrestrial Tones,
Marc Romboy vs. Booka Shade,
The American Breed,
Glambeats Corp.,
AZ,
Lou Reed & John Cale,
Be Bop Deluxe,
Dave Gahan,
Radiopuhelimet,
Strawberry Alarm Clock,
Oblivians,
Bootsy's Rubber Band,
the Slits,
the Swans,
Laurel Aitken,
Pierre Henry,
Jesper Dahlbäck,
Quando Quango,
The Dead C,
The Smiths,
Warsaw,
Bang on a Can All-Stars,
Aaron Thompson,
A Certain Ratio,
Brick,
The Young Rascals,
Gian Franco Pienzio,
Ultra Naté,
Max Romeo,
DJ Style,
The Tremeloes,
Pussy Galore,
Junior Murvin,
The Martian,
Ultravox,
Roxette,
the Human League,
R.M.O.,
Animal Collective,
Jimmy McGriff,
Intrusion,
Agitation Free,
Marshall Jefferson,
The Human League,
Surgeon,
Q65,
Chris & Cosey,
Deakin,
X-101,
The Selecter,
Heavy D & The Boyz,
Brand Nubian,
The Last Poets,
Scientists, Scientists, Scientists, Scientists.
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.