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 South Sudan and from Houston.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Lagos.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the güiro 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 Mantronix to the rap kids.
I played it at CBGB's.
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 Walker Brothers. All the underground hits.
All The Cowsills tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Sight & Sound,
Prince Buster,
The Happenings,
Andrew Ashong & Theo Parrish,
Man Parrish,
Super Lover Cee & Casanova Rud,
Rahsaan Roland Kirk,
Crash Course in Science,
Public Image Ltd.,
The Moody Blues,
The Move,
X-Ray Spex,
Soul Sonic Force,
Donny Hathaway,
The Victims,
New Age Steppers,
Basic Channel,
Alison Limerick,
The Gap Band,
Young Marble Giants,
The Associates,
Liaisons Dangereuses,
Model 500,
Swell Maps,
Sugar Minott,
Kings Of Tomorrow,
T. Rex,
The Cosmic Jokers,
Sixth Finger,
Byron Stingily,
The Grass Roots,
Jeff Mills,
Faraquet,
the Association,
The Gories,
Hoover,
Underground Resistance,
Mo-Dettes,
Gil Scott-Heron and Jamie xx,
Suburban Knight,
Art Ensemble Of Chicago,
Audionom,
Supertramp,
Gang Starr,
Echo & the Bunnymen,
The Martian,
Bauhaus,
Interpol,
Bobby Sherman,
Minutemen,
The Pretty Things,
The Fall,
Quadrant,
Heavy D & The Boyz,
Blossom Toes,
The Fortunes,
Cybotron,
Tropical Tobacco,
The Techniques,
Ossler,
Gerry Rafferty,
Jeru the Damaja,
Scan 7,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.