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 Morocco and from Seoul.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Halifax and Toronto.
I'm losing my edge to the art-school Delhi 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 Captain Beefheart 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 Robert Wyatt to the dance kids.
I played it at the Spitz.
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 Fortunes. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Minny Pops 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television,
Camouflage,
The Human League,
Little Man,
Rhythim Is Rhythim,
Carl Craig,
Erasure,
Hoover,
Maurizio,
Supertramp,
Lonnie Liston Smith,
Avey Tare,
Metal Thangz,
Terrestrial Tones,
The Velvet Underground,
OOIOO,
The Dead C,
Rakim,
Cymande,
Heaven 17,
Liaisons Dangereuses,
Echo & the Bunnymen,
The Flesh Eaters,
The Last Poets,
The Skatalites,
Black Flag,
John Lydon,
The Five Americans,
Soft Machine,
Joe Finger,
the Slits,
Swell Maps,
Zero Boys,
Lou Reed,
Country Joe & The Fish,
Quantec,
Joey Negro,
Circle Jerks,
the Soft Cell,
Wolf Eyes,
Wighnomy Brothers & Robag Wruhme,
Brass Construction,
Drive Like Jehu,
Skaos,
Pierre Henry,
Vaughan Mason & Crew,
The Seeds,
Idris Muhammad,
Radiopuhelimet,
Kings Of Tomorrow,
Skarface,
Rod Modell,
Visionaries,LMNO, T- Love & Iriscience,
Blake Baxter,
Nick Fraelich,
Stetsasonic,
Oneida,
Fifty Foot Hose,
Gabor Szabo,
Harmonia,
Althea and Donna,
Absolute Body Control,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.