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 Estonia and from Accra.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1978.
I'm losing my edge.
To all the kids in Halifax and Glasgow.
I'm losing my edge to the art-school Portland 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 marimba 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 The Music Machine to the punk kids.
I played it at Trash.
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 Sugar Minott. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every Technova 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Ice-T,
Robert Hood,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
ABBA,
Magazine,
Eddi Front,
Susan Cadogan,
The Divine Comedy,
La Düsseldorf,
Faraquet,
Scrapy,
The Seeds,
Motorama,
Royal Trux,
Chris Corsano,
Pet Shop Boys,
Mandrill,
Talk Talk,
Ronan,
Sonic Youth,
Excepter,
The Raincoats,
Ajijia Myrayebe,
Smog,
ABC,
Sexual Harrassment,
Procol Harum,
The Gories,
Qualms,
Country Joe & The Fish,
The Knickerbockers,
June of 44,
Röyhkä ja Rättö ja Lehtisalo,
Lalann,
Popol Vuh,
Terry Callier,
Faust,
The Fuzztones,
Jacques Brel,
Dawn Penn,
Jeff Mills,
Hardrive,
The Gap Band,
Strawberry Alarm Clock,
The Victims,
Flash Fearless,
Rosa Yemen,
The Shadows of Knight,
The Invisible,
Bootsy's Rubber Band,
Kaleidoscope,
Patti Smith,
Yaz,
Sad Lovers and Giants,
Pantytec,
Flipper,
Quantec,
The United States of America,
Rod Modell,
Lou Reed,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.