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 Haiti and from Shanghai.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Mexico City and Seoul.
I'm losing my edge to the art-school Stockholm 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 arpeggiator 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 Grauzone to the jazz 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 Tears for Fears. All the underground hits.
All The Slackers tracks. I heard you have a vinyl of every The Slits record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Black Sheep record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Mission of Burma,
Sun Ra,
Bizarre Inc.,
Deutsch Amerikanische Freundschaft,
The Cosmic Jokers,
Leonard Cohen,
Intrusion,
Suicide,
Boredoms,
Marcia Griffiths,
Monolake,
Neu!,
Wings,
B.T. Express,
Röyhkä ja Rättö ja Lehtisalo,
Lucky Dragons,
Metal Thangz,
Camberwell Now,
E-Dancer,
Rekid,
John Lydon,
Interpol,
Public Image Ltd.,
Crispian St. Peters,
The Divine Comedy,
Theoretical Girls,
Roger Hodgson,
Gabor Szabo,
Rakim,
Nick Fraelich,
The Blues Magoos,
Niagra,
Kenny Larkin,
Public Enemy,
Visionaries,LMNO, T- Love & Iriscience,
Marine Girls,
Reuben Wilson,
Bluetip,
Lindisfarne,
10cc,
Red Lorry Yellow Lorry,
Visage,
Alison Limerick,
Maurizio,
Smog,
Beasts of Bourbon,
The Mighty Diamonds,
Cecil Taylor,
The Dead C,
The Gladiators,
Terry Callier,
Todd Terry,
Lebanon Hanover,
Chrome,
Ornette Coleman,
MDC,
Jacques Brel,
Eyeless In Gaza,
The Trojans,
Black Pus, Black Pus, Black Pus, Black Pus.
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.