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 Afghanistan and from London.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Spokane and Lyon.
I'm losing my edge to the art-school Lille 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 Josef K practice in a loft in Edinburgh.
I was working on the chamberlin 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 The Star Department to the techno kids.
I played it at the Roxy.
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 Los Fastidios. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every The Martian record on German import.
I heard that you have a white label of every seminal jazz 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 güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Pharoah Sanders record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
Bill Near,
The Modern Lovers,
Absolute Body Control,
Jesper Dahlbäck,
Terry Callier,
Y Pants,
Camron Feat. Memphis Bleek And Beenie Seigel,
John Holt,
Kango’s Stein Massive,
B.T. Express,
Deadbeat,
Sonic Youth,
Bronski Beat,
The Associates,
Swans,
Tropical Tobacco,
Soft Cell,
Second Layer,
Yaz,
Public Enemy,
Underground Resistance,
Joe Smooth,
Qualms,
The Last Poets,
The Busters,
Letta Mbulu,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Mars,
Amazonics,
Sexual Harrassment,
Ice-T,
Zapp,
The Smoke,
The Red Krayola,
Tres Demented,
De La Soul & Jungle Brothers,
The Real Kids,
John Foxx,
Eli Mardock,
Eddi Front,
Blossom Toes,
The Kinks,
Organ,
Notorious Big And Bone Thugs,
Gil Scott Heron,
The Blackbyrds,
It's A Beautiful Day,
The Barracudas,
Crooked Eye,
Thinking Fellers Union Local 282,
Agent Orange,
Warren Ellis,
The West Coast Pop Art Experimental Band,
Dual Sessions,
Bauhaus,
Dead Boys,
The Index,
Althea and Donna,
Scott Walker,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.