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 Belarus and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Salvador and Stockholm.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Searchers to the funk 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 Drexciya. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every kango's stein massive record on German import.
I heard that you have a white label of every seminal grime 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 marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Echo & the Bunnymen,
Alison Limerick,
The Star Department,
Circle Jerks,
The Cosmic Jokers,
Yellowson,
Pete Rock & C.L. Smooth,
Lizzy Mercier Descloux,
Camron Feat. Jay Z And Juelz,
Curtis Mayfield,
Flipper,
Al Stewart,
Art Ensemble Of Chicago,
Cymande,
Buzzcocks,
Gregory Isaacs,
Eden Ahbez,
The Flesh Eaters,
Motorama,
Goldenarms,
Dual Sessions,
Reagan Youth,
Ash Ra Tempel,
Pole,
Magazine,
Nation of Ulysses,
DeepChord presents Echospace,
PIL,
Leonard Cohen,
CMW,
Public Image Ltd.,
Icehouse,
Big Daddy Kane,
Anthony Braxton,
The Dead C,
Yusef Lateef,
F. McDonald,
The Slackers,
The Busters,
Blake Baxter,
Pulsallama,
Camberwell Now,
Jesper Dahlbäck,
Glenn Branca,
Lucky Dragons,
Dawn Penn,
Kauko Röyhkä ja Narttu,
Kool G Rap & DJ Polo,
The Modern Lovers,
Graham Central Station,
Todd Terry,
Joe Finger,
Beasts of Bourbon,
The Happenings,
Sonny Sharrock,
Ice-T,
Richard Hell and the Voidoids,
the Normal,
The Sound,
Donald Byrd,
Lalo Schifrin,
The Count Five,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.