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 Dominica and from Mexico City.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Tokyo.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Slits to the funk 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 The Slackers. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every Joy Division 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
X-Ray Spex,
Boogie Down Productions,
Derrick Morgan,
Brothers Johnson,
The Sonics,
Ossler,
Country Joe & The Fish,
Yusef Lateef,
Jesper Dahlback,
Smog,
Johnny Osbourne,
The Kinks,
Minutemen,
The Evens,
The Jesus and Mary Chain,
Con Funk Shun,
the Fania All-Stars,
Mission of Burma,
Rakim,
Notorious BIG live in Amsterdam,
Tubeway Army,
T.S.O.L.,
Bluetip,
Piero Umiliani,
Matthew Bourne,
Ohio Players,
Grey Daturas,
Andrew Ashong & Theo Parrish,
Outsiders,
Fela Kuti,
The Slackers,
Dual Sessions,
Janne Schatter,
Nick Cave & The Bad Seeds,
Aloha Tigers,
Easy Going,
Alphaville,
Pole,
The Walker Brothers,
Darondo,
Bronski Beat,
Sarah Menescal,
Gian Franco Pienzio,
Isaac Hayes,
Marcia Griffiths,
Bobby Sherman,
Jeff Mills,
Masters at Work,
Gastr Del Sol,
The New Christs,
the Germs,
Deutsch Amerikanische Freundschaft,
The Dave Clark Five,
The Stooges,
Camberwell Now,
Loose Ends,
T. Rex,
Howard Jones,
Neu!, Neu!, Neu!, Neu!.
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.