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 Algeria and from Cairo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Seoul and Philadelphia.
I'm losing my edge to the art-school Tehran 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin sounds with much patience.
I was there when Nile Rodgers 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 Louis and Bebe Barron to the rock 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 Sound Behaviour. All the underground hits.
All Echospace tracks. I heard you have a vinyl of every Faraquet record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Aural Exciters,
Orchestral Manoeuvres in the Dark,
Idris Muhammad,
David McCallum,
Grauzone,
Angry Samoans,
Rufus Thomas,
Sad Lovers and Giants,
kango's stein massive,
Los Fastidios,
Youth Brigade,
Sonny Sharrock,
The Gladiators,
Organ,
Prince Buster,
Iggy Pop,
Lizzy Mercier Descloux,
Swans,
The Detroit Cobras,
Larry & the Blue Notes,
MC5,
The Cure,
Pussy Galore,
Bill Near,
The Dave Clark Five,
Crime,
Boogie Down Productions,
Dawn Penn,
Art Ensemble Of Chicago,
Carl Craig,
Gastr Del Sol,
The Skatalites,
The Walker Brothers,
Neu!,
Slave,
Barbara Tucker,
Amon Düül II,
Talk Talk,
The Red Krayola,
Dave Gahan,
Aaron Thompson,
Agent Orange,
Josef K,
Moebius,
Sticky Fingaz feat. Raekwon,
MDC,
Wolf Eyes,
Public Image Ltd.,
The Trojans,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Brothers Johnson,
The Mummies,
Warsaw,
New York Dolls,
Unrelated Segments,
Banda Bassotti,
Mary Jane Girls,
Spandau Ballet,
Stockholm Monsters,
Beasts of Bourbon,
Ponytail, Ponytail, Ponytail, Ponytail.
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.