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 Austria and from Madrid.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Copenhagen.
I'm losing my edge to the art-school Shanghai 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the organ sounds with much patience.
I was there when Robert Palmer 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 The Move to the techno kids.
I played it at Trash.
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 Section 25. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Danielle Patucci 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 '80s cut and another box set from the '80s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Iggy Pop,
the Soft Cell,
Kings Of Tomorrow,
The Five Americans,
The Busters,
Kerri Chandler,
Los Fastidios,
Toni Rubio,
Albert Ayler,
Public Enemy,
Main Source,
Gian Franco Pienzio,
John Lydon,
H. Thieme,
Excepter,
Johnny Clarke,
Drive Like Jehu,
Rotary Connection,
MC5,
Pole,
Goldenarms,
Minor Threat,
The Monks,
Aaron Thompson,
De La Soul & Jungle Brothers,
The Monochrome Set,
Bauhaus,
Au Pairs,
Gastr Del Sol,
Crispy Ambulance,
The Techniques,
Grandmaster Flash,
Lyres,
Man Eating Sloth,
Kevin Saunderson,
Dawn Penn,
Grandmaster Flash and the Furious Five,
Severed Heads,
Kayak,
Parry Music,
The Detroit Cobras,
Arcadia,
Mission of Burma,
Popol Vuh,
Man Parrish,
The Golliwogs,
T. Rex,
Easy Going,
Tubeway Army,
June Days,
Cecil Taylor,
The Smoke,
Magma,
Young Marble Giants,
Erykah Badu,
The Sonics,
Dead Boys,
Harpers Bizarre,
Soulsonic Force,
The Moody Blues,
Niagra,
Aural Exciters,
Kas Product,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.