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 Japan and from Lagos.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Madrid and Lyon.
I'm losing my edge to the art-school Tokyo 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 theremin sounds with much patience.
I was there when Lou Reed 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 Royal Trux to the grime 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 F. McDonald. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Q65 record on German import.
I heard that you have a white label of every seminal dance 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 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Josef K,
Eli Mardock,
Andrew Ashong & Theo Parrish,
Rahsaan Roland Kirk,
Patti Smith,
8 Eyed Spy,
Pole,
AZ,
Stereo Dub,
Mo-Dettes,
Eric B and Rakim,
Thompson Twins,
Black Sheep,
Brick,
Avey Tare's Slasher Flicks,
Gichy Dan,
Underground Resistance,
The Busters,
Oblivians,
Ajijia Myrayebe,
Duran Duran,
Delon & Dalcan,
Matthew Bourne,
X-Ray Spex,
Pulsallama,
Mandrill,
Dr. Dre and Snoop Doggy Dog,
Nik Kershaw,
Lalo Schifrin,
The Neon Judgement,
Theoretical Girls,
Cecil Taylor,
Steve Hackett,
Yellowson,
Eyeless In Gaza,
Bad Manners,
Sugar Minott,
Crooked Eye,
The Fugs,
Neu!,
Main Source,
Wire,
The Young Rascals,
Lower 48,
Roy Ayers,
Big Daddy Kane,
Ronan,
Eurythmics,
Aural Exciters,
Howard Jones,
Henry Cow,
Albert Ayler,
The Move,
Wings,
The Saints,
The Electric Prunes,
Rosa Yemen,
Stetsasonic,
Bauhaus,
Gabor Szabo,
Radiopuhelimet,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.