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 Indonesia and from Calgary.
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 1971.
I'm losing my edge.
To all the kids in Mexico City and Toronto.
I'm losing my edge to the art-school Toronto 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 clarinet 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 Juan Atkins to the rap 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 Flamin' Groovies. All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every The Golliwogs record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
The Sisters of Mercy,
Groovy Waters,
The Cure,
Ultimate Spinach,
Fad Gadget,
Black Pus,
Stereo Dub,
Ash Ra Tempel,
Bluetip,
One Last Wish,
The Music Machine,
Graham Central Station,
The Monks,
Bobby Byrd,
EPMD,
Avey Tare's Slasher Flicks,
Wolf Eyes,
Joe Smooth,
Nick Fraelich,
Inner City,
Stockholm Monsters,
Nation of Ulysses,
Orchestral Manoeuvres in the Dark,
Fear,
Popol Vuh,
Hoover,
Whodini,
The Leaves,
The Dave Clark Five,
Television Personalities,
Cabaret Voltaire,
Ralphi Rosario,
Major Organ And The Adding Machine,
Parry Music,
Chris & Cosey,
Max Romeo,
London Community Gospel Choir,
Arcadia,
The Offenders,
Vainqueur,
Jesper Dahlbäck,
Kas Product,
Cal Tjader,
Ossler,
Minnie Riperton,
A Certain Ratio,
Girls At Our Best!,
Todd Terry,
Todd Rundgren,
Rotary Connection,
Sandy B,
Angels of Light & Akron/Family,
Tim Buckley,
Wasted Youth,
Gil Scott-Heron & Brian Jackson,
Babytalk,
Black Flag,
Matthew Halsall,
Strawberry Alarm Clock,
Eden Ahbez,
Rakim,
AZ,
World's Most, World's Most, World's Most, World's Most.
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.