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 New Zealand and from London.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Tehran and Spokane.
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 1973 at the first Television practice in a loft in New York.
I was working on the synthesizer 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 Grauzone to the rock kids.
I played it at the Roxy.
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 Cymande. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Malaria! record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Theoretical Girls,
Bill Wells,
Camron Feat. Memphis Bleek And Beenie Seigel,
Youth Brigade,
Nirvana,
Strawberry Alarm Clock,
Sister Nancy,
Essential Logic,
Boogie Down Productions,
Deadbeat,
Davy DMX,
Kings Of Tomorrow,
U.S. Maple,
Isaac Hayes,
Gang Starr,
Roxy Music,
DNA,
Neil Young,
Nik Kershaw,
Wings,
The Smiths,
Infiniti,
Godley & Creme,
Glambeats Corp.,
The Mummies,
Roy Ayers Ubiquity,
Grauzone,
Anthony Braxton,
Royal Trux,
New York Dolls,
Bronski Beat,
Fear,
Colin Newman,
T.S.O.L.,
The Searchers,
Country Teasers,
Franke,
Pere Ubu,
Ten City,
Fela Kuti,
The Sound,
Guru Guru,
The Blackbyrds,
Cluster,
New Age Steppers,
Depeche Mode,
Pharaoh Sanders and the Fire Engines,
The Pretty Things,
Robert Görl,
The Moody Blues,
John Holt,
Crash Course in Science,
Soft Cell,
Supertramp,
Gabor Szabo,
Aloha Tigers,
Half Japanese,
Lakeside,
The Motions,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.