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 Turkmenistan and from Mumbai.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Lyon and Woodstock.
I'm losing my edge to the art-school Winnipeg 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the linndrum 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 K-Klass to the grime 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 The Star Department. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every Section 25 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Foxx,
Saccharine Trust,
Rufus Thomas,
Kaleidoscope,
The Buckinghams,
Lou Reed & Metallica,
Scratch Acid,
Skaos,
Country Joe & The Fish,
London Community Gospel Choir,
Echo & the Bunnymen,
Glambeats Corp.,
Tropical Tobacco,
Cecil Taylor,
Wire,
Arcadia,
Blake Baxter,
Mo-Dettes,
Suburban Knight,
Crispian St. Peters,
Roger Hodgson,
Juan Atkins,
Moby Grape,
Wolf Eyes,
The Blues Magoos,
Cluster,
Mark Hollis,
Camberwell Now,
Nation of Ulysses,
Ponytail,
Kerrie Biddell,
Louis and Bebe Barron,
Nirvana,
Minutemen,
Television,
Outsiders,
Lebanon Hanover,
Lakeside,
Visionaries,LMNO, T- Love & Iriscience,
Easy Going,
Jerry's Kids,
The Mojo Men,
Ultravox,
Bang on a Can All-Stars,
Rakim,
Gang Starr,
Henry Cow,
The Cramps,
Kenny Larkin,
Vaughan Mason & Crew,
The West Coast Pop Art Experimental Band,
Judy Mowatt,
The Sonics,
Curtis Mayfield,
Bobby Sherman,
Dave Gahan,
The Remains,
Absolute Body Control,
Cybotron,
DNA,
Jeff Mills,
Nas, Nas, Nas, Nas.
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.