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 Finland and from Seoul.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Halifax and Shanghai.
I'm losing my edge to the art-school Manchester 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Dennis Brown to the crunk kids.
I played it at the 40 Watt.
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 Shoche. All the underground hits.
All Echo & the Bunnymen tracks. I heard you have a vinyl of every Kango’s Stein Massive 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 '60s cut and another box set from the '70s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
The Modern Lovers,
The Zeros,
Angry Samoans,
Dennis Brown,
Gil Scott-Heron and Jamie xx,
The Divine Comedy,
Motorama,
Josef K,
Second Layer,
Delta 5,
Ajijia Myrayebe,
the Slits,
Marshall Jefferson,
La Düsseldorf,
Althea and Donna,
Mandrill,
Frankie Knuckles,
the Swans,
Popol Vuh,
Cal Tjader,
Roxette,
Vladislav Delay,
Mr. Review,
Dead Boys,
Don Cherry,
Scott Walker,
Ken Boothe,
Parry Music,
The J.B.'s,
Roger Hodgson,
Teenage Jesus and the Jerks,
Con Funk Shun,
Oppenheimer Analysis,
Nation of Ulysses,
Stiv Bators,
Masters at Work,
The Trojans,
Kaleidoscope,
Derrick May,
Bobby Byrd,
World's Most,
Oblivians,
Arab on Radar,
Neu!,
Sticky Fingaz feat. Raekwon,
Erasure,
Jeru the Damaja,
David Axelrod,
Eric Dolphy,
Skriet,
The Barracudas,
The Searchers,
Grandmaster Flash,
Panda Bear,
James Chance & The Contortions,
Jeff Lynne,
48th St. Collective,
Warren Ellis,
Yellowson,
Delon & Dalcan, Delon & Dalcan, Delon & Dalcan, Delon & Dalcan.
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.