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 Egypt and from Edmonton.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1966 to 1978.
I'm losing my edge.
To all the kids in Accra and Mexico City.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord 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 Offenders to the jazz kids.
I played it at the Crocodile.
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 Magma. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Ronan record on German import.
I heard that you have a white label of every seminal grime 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 marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Isaac Hayes,
Eurythmics,
Swell Maps,
Max Romeo,
Alison Limerick,
Half Japanese,
The Dave Clark Five,
Yazoo,
Skaos,
Depeche Mode,
A Certain Ratio,
Kayak,
B.T. Express,
The Techniques,
De La Soul & Jungle Brothers,
Marmalade,
The Barracudas,
Duran Duran,
Quadrant,
Ultimate Spinach,
Magma,
Tommy Roe,
Lee Hazlewood,
Electric Light Orchestra,
Piero Umiliani,
DNA,
Eric B and Rakim,
Avey Tare's Slasher Flicks,
Ice-T,
The Gun Club,
Minnie Riperton,
Lucky Dragons,
Hoover,
Stockholm Monsters,
Althea and Donna,
Lou Reed & Metallica,
Reagan Youth,
FM Einheit,
Archie Shepp,
Section 25,
Stereo Dub,
Visage,
The Invisible,
The Golliwogs,
Oblivians,
Second Layer,
Drexciya,
Richard Hell and the Voidoids,
The Peanut Butter Conspiracy,
Underground Resistance,
Young Marble Giants,
Bob Dylan,
Jandek,
The Divine Comedy,
Brothers Johnson,
Shoche,
Mr. Review,
Scratch Acid,
Cameo,
Icehouse,
Josef K,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.