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 Mozambique and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1962 to 1977.
I'm losing my edge.
To all the kids in Manchester and Winnipeg.
I'm losing my edge to the art-school Paris 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Scratch Acid to the jazz kids.
I played it at the 40 Watt.
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 Crash Course in Science. All the underground hits.
All X-102 tracks. I heard you have a vinyl of every Rakim record on German import.
I heard that you have a white label of every seminal techno 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 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
John Cale,
Tres Demented,
Brothers Johnson,
Bad Manners,
Delta 5,
Arab on Radar,
Dark Day,
The Victims,
Sixth Finger,
Mo-Dettes,
Howard Jones,
The Cramps,
The Busters,
Derrick Morgan,
Porter Ricks,
The Star Department,
Kerrie Biddell,
Brand Nubian,
Wolf Eyes,
New Order,
Crime,
Fluxion,
Vaughan Mason & Crew,
Aaron Thompson,
Television,
T.S.O.L.,
Half Japanese,
the Human League,
Gang Green,
Yazoo,
Sight & Sound,
Jacques Brel,
Albert Ayler,
Nils Olav,
Gichy Dan,
Marine Girls,
Lindisfarne,
Dual Sessions,
Delon & Dalcan,
Cymande,
The Jesus and Mary Chain,
K-Klass,
Rosa Yemen,
Zapp,
Minny Pops,
the Normal,
Y Pants,
Cecil Taylor,
the Sonics,
Talk Talk,
Ossler,
Fort Wilson Riot,
London Community Gospel Choir,
Average White Band,
Intrusion,
Sparks,
Angels of Light & Akron/Family,
Schoolly D,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.