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 Luxembourg and from Mexico City.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1967 to 1973.
I'm losing my edge.
To all the kids in Manchester and New York.
I'm losing my edge to the art-school Jakarta 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator sounds with much patience.
I was there when David Bowie 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 Fat Boys to the dance kids.
I played it at the Hacienda.
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 Reagan Youth. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Black Bananas record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
The American Breed,
a-ha,
The Saints,
Frankie Knuckles,
JFA,
Motorama,
The Searchers,
Pantytec,
The Motions,
Procol Harum,
The J.B.'s,
Lyres,
The Birthday Party,
Piero Umiliani,
Stetsasonic,
Hoover,
Cybotron,
Simply Red,
the Sonics,
Ituana,
Kas Product,
Lalo Schifrin,
Godley & Creme,
Roger Hodgson,
Radiohead,
Gabor Szabo,
Youth Brigade,
Ludus,
Soul II Soul,
Eric B and Rakim,
MDC,
Masters at Work,
Pantaleimon,
Minor Threat,
Echospace,
Rowland S Howard / Lydia Lunch,
Hasil Adkins,
EPMD,
June Days,
James Chance & The Contortions,
Bronski Beat,
The Durutti Column,
The Standells,
Blancmange,
Magma,
The Dirtbombs,
F. McDonald,
Index,
Oneida,
Sun City Girls,
Lonnie Liston Smith,
Malaria!,
Gil Scott Heron,
DeepChord presents Echospace,
The Index,
Grey Daturas,
Drexciya,
Minnie Riperton,
Jeff Mills,
Amon Düül,
Popol Vuh,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.