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 Cameroon and from Halifax.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1971.
I'm losing my edge.
To all the kids in Mumbai and Philadelphia.
I'm losing my edge to the art-school Glasgow 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 snare 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 Wally Richardson to the jazz kids.
I played it at the Astoria.
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 E-Dancer. All the underground hits.
All Metal Thangz tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal rap 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 spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Panda Bear,
Joyce Sims,
Fad Gadget,
ABBA,
The Walker Brothers,
Hardrive,
Man Eating Sloth,
The Evens,
Be Bop Deluxe,
Sugar Minott,
Quadrant,
Bobby Womack,
The Names,
Franke,
Ossler,
Marc Romboy vs. Booka Shade,
Althea and Donna,
Dorothy Ashby,
The Black Dice,
Los Fastidios,
Lou Reed & Metallica,
Negative Approach,
Bush Tetras,
Alison Limerick,
The Trojans,
Groovy Waters,
D'Angelo,
Laurel Aitken,
Television Personalities,
The Detroit Cobras,
Dark Day,
Ralphi Rosario,
The Beau Brummels,
De La Soul & Jungle Brothers,
A Certain Ratio,
Matthew Halsall,
Mad Mike,
Pharaoh Sanders and the Fire Engines,
The Monochrome Set,
Shuggie Otis,
Red Lorry Yellow Lorry,
Adolescents,
Gichy Dan,
The Standells,
Gil Scott-Heron & Brian Jackson,
Zapp,
Terrestrial Tones,
Brick,
The American Breed,
Pere Ubu,
The Raincoats,
Bill Wells,
Ultravox,
Quando Quango,
Lou Reed & John Cale,
Pussy Galore,
Funky Four + One,
Procol Harum,
Liliput,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.