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 Andorra and from Johannesburg.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Stockholm.
I'm losing my edge to the art-school Beijing 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Techniques to the grime kids.
I played it at Cafe Wha.
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 Visage. All the underground hits.
All Whodini tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Crash Course in Science,
The Flesh Eaters,
Pylon,
Alison Limerick,
Fad Gadget,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Orchestral Manoeuvres in the Dark,
Robert Hood,
Don Cherry,
Boredoms,
Stockholm Monsters,
Lakeside,
Scratch Acid,
Newcleus,
Kenny Larkin,
Bill Near,
Nation of Ulysses,
Inner City,
Susan Cadogan,
Radiohead,
Heavy D & The Boyz,
Procol Harum,
Sun Ra,
Royal Trux,
Dorothy Ashby,
Shoche,
The Black Dice,
The West Coast Pop Art Experimental Band,
Eric Dolphy,
EPMD,
FM Einheit,
Sandy B,
Marine Girls,
John Lydon,
Angels of Light & Akron/Family,
Monolake,
T.S.O.L.,
Motorama,
Bobby Hutcherson,
Ash Ra Tempel,
Quando Quango,
Tommy Roe,
New York Dolls,
Ohio Players,
Strawberry Alarm Clock,
Eddi Front,
The Fuzztones,
Adolescents,
John Holt,
X-101,
Cybotron,
Bush Tetras,
Reuben Wilson,
Sad Lovers and Giants,
Derrick May,
The Jesus and Mary Chain,
Ronnie Foster,
The Star Department,
Laurel Aitken,
Bill Wells,
Japan,
Sun Ra Arkestra,
Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))).
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.