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 Philadelphia.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1972.
I'm losing my edge.
To all the kids in Spokane and Mumbai.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Ajijia Myrayebe to the punk 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 Technova. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Visage record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Duran Duran,
Glambeats Corp.,
Archie Shepp,
Black Bananas,
Peter Gordon & Love of Life Orchestra,
R.M.O.,
Deepchord,
Spandau Ballet,
Ultramagnetic MC's,
Talk Talk,
Unrelated Segments,
Heavy D & The Boyz,
Bad Manners,
MDC,
The Vogues,
Justin Hinds & The Dominoes,
Youth Brigade,
Sarah Menescal,
Althea and Donna,
Red Lorry Yellow Lorry,
Fear,
Tomorrow,
Jawbox,
Camberwell Now,
Silicon Teens,
The Angels of Light,
Rapeman,
the Fania All-Stars,
The Leaves,
Godley & Creme,
Carl Craig,
The Doobie Brothers,
Sex Pistols,
Tres Demented,
Rhythm & Sound,
Sunsets and Hearts,
The Five Americans,
Matthew Bourne,
Siouxsie and the Banshees,
Cheater Slicks,
The American Breed,
Average White Band,
The Residents,
Gang Starr,
Todd Terry,
Jacques Brel,
Bizarre Inc.,
Skriet,
Parry Music,
New York Dolls,
London Community Gospel Choir,
Marvin Gaye,
The Selecter,
The West Coast Pop Art Experimental Band,
Jesper Dahlbäck,
Yaz,
The Human League,
Jacob Miller,
CMW,
Grauzone,
Kurtis Blow,
The Flesh Eaters, The Flesh Eaters, The Flesh Eaters, The Flesh Eaters.
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.