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 Bahamas and from Lagos.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Tokyo and London.
I'm losing my edge to the art-school Cairo 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 clarinet sounds with much patience.
I was there when Donald Fagen 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 Flash Fearless to the grime 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 Zapp. All the underground hits.
All Nick Cave & The Bad Seeds tracks. I heard you have a vinyl of every The Pop Group 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Pharaoh Sanders and the Fire Engines,
The Fuzztones,
Motorama,
The Gories,
Thee Headcoats,
Malaria!,
Bobby Byrd,
Kerrie Biddell,
The Mighty Diamonds,
Ponytail,
Wolf Eyes,
Reuben Wilson,
Skriet,
Juan Atkins,
Echo & the Bunnymen,
The Offenders,
Crime,
Rod Modell,
the Sonics,
Tubeway Army,
Throbbing Gristle,
The Golliwogs,
E-Dancer,
Sound Behaviour,
Andrew Hill,
Organ,
Notorious Big And Bone Thugs,
Man Eating Sloth,
Black Bananas,
JFA,
Bizarre Inc.,
ABBA,
FM Einheit,
Erasure,
The Misunderstood,
The Smoke,
Symarip,
Das Ding,
Robert Hood,
the Soft Cell,
Harry Pussy,
the Association,
Larry & the Blue Notes,
Derrick May,
Scan 7,
Gary Puckett & The Union Gap,
Barry Ungar,
Tropical Tobacco,
Technova,
Minnie Riperton,
Joe Finger,
The Music Machine,
The Slits,
Loose Ends,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Arab on Radar,
Bauhaus,
Lalo Schifrin,
Groovy Waters,
Flash Fearless,
The West Coast Pop Art Experimental Band,
Mantronix, Mantronix, Mantronix, Mantronix.
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.