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 San Marino and from Houston.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1976.
I'm losing my edge.
To all the kids in Halifax and Lyon.
I'm losing my edge to the art-school Johannesburg 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Count Five to the grime kids.
I played it at the Troubador.
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 The Fugs. All the underground hits.
All Erykah Badu tracks. I heard you have a vinyl of every Yellowson 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 rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Wake record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Grandmaster Flash,
Mars,
Oppenheimer Analysis,
Warsaw,
The Standells,
Tears for Fears,
Eddi Front,
Thinking Fellers Union Local 282,
New Age Steppers,
The Monochrome Set,
The Martian,
Sound Behaviour,
Monks,
Slave,
The Detroit Cobras,
AZ,
Dennis Brown,
The Smiths,
Brass Construction,
Angry Samoans,
Junior Murvin,
Adolescents,
Rowland S Howard / Lydia Lunch,
Bizarre Inc.,
Black Sheep,
E-Dancer,
Dorothy Ashby,
Swans,
Notorious BIG live in Amsterdam,
Marvin Gaye,
Gong,
Oblivians,
Symarip,
Thee Headcoats,
Pagans,
Ultimate Spinach,
Schoolly D,
The American Breed,
Pulsallama,
The Victims,
Kool Moe Dee,
Half Japanese,
Tim Buckley,
Unwound,
The Names,
Black Pus,
Pierre Henry,
Porter Ricks,
Peter & Gordon,
Massinfluence,
Amazonics,
Cybotron,
Suicide,
Supertramp,
The Misunderstood,
Ten City,
The Blues Magoos, The Blues Magoos, The Blues Magoos, The Blues Magoos.
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.