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 Libya and from Manila.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Manchester and Manila.
I'm losing my edge to the art-school Tehran 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 snare sounds with much patience.
I was there when Tom Verlaine 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 Chris & Cosey to the crunk 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 Zapp. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Wolf Eyes 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 snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Roxette,
T. Rex,
Livin' Joy,
Pet Shop Boys,
The Velvet Underground,
the Normal,
Barbara Tucker,
Wire,
The Trojans,
Pantytec,
Bobby Womack,
Heavy D & The Boyz,
Model 500,
Goldenarms,
Todd Terry,
Niagra,
Yusef Lateef,
Thompson Twins,
Siglo XX,
DNA,
Ossler,
New Order,
Zapp,
Amon Düül II,
Strawberry Alarm Clock,
DeepChord presents Echospace,
Derrick May,
The Skatalites,
Liaisons Dangereuses,
The Monochrome Set,
Neil Young,
Gang Gang Dance,
Porter Ricks,
Ice-T,
Barclay James Harvest,
Sly & The Family Stone,
The Doors,
Nick Fraelich,
ABC,
Q and Not U,
Wasted Youth,
Mark Hollis,
Jesper Dahlbäck,
Agitation Free,
The Divine Comedy,
The Invisible,
Marshall Jefferson,
Bad Manners,
K-Klass,
Kango’s Stein Massive,
Sexual Harrassment,
Avey Tare,
Orchestral Manoeuvres in the Dark,
Pete Rock & C.L. Smooth,
Excepter,
The Beau Brummels,
Sarah Menescal,
The Last Poets,
The Royal Family And The Poor,
The Modern Lovers,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.