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 Somalia and from Mexico City.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Glasgow.
I'm losing my edge to the art-school Seoul 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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord 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 Audionom to the punk kids.
I played it at the Crocodile.
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 Grauzone. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish 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 '80s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro 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?
Cecil Taylor,
Agitation Free,
Hashim,
Ossler,
Ornette Coleman,
Glambeats Corp.,
the Soft Cell,
Kauko Röyhkä ja Narttu,
Roy Ayers,
The Toasters,
The Five Americans,
The Red Krayola,
Nick Fraelich,
Heavy D & The Boyz,
Drive Like Jehu,
Maurizio,
World's Most,
Negative Approach,
Avey Tare's Slasher Flicks,
Tim Buckley,
The Star Department,
Richard Hell and the Voidoids,
Au Pairs,
Dr. Dre and Snoop Doggy Dog,
Soft Cell,
Alton Ellis,
Nils Olav,
Peter & Gordon,
Kevin Saunderson,
Funkadelic,
Mary Jane Girls,
Hardrive,
Suburban Knight,
Trumans Water,
FM Einheit,
8 Eyed Spy,
Yusef Lateef,
Lou Christie,
The Men They Couldn't Hang,
Amon Düül II,
Unrelated Segments,
Monolake,
Dave Gahan,
The Pretty Things,
The Dirtbombs,
Dark Day,
The Sound,
Fluxion,
Sugar Minott,
The Walker Brothers,
Dennis Brown,
Flipper,
Bill Near,
kango's stein massive,
Thinking Fellers Union Local 282,
the Bar-Kays,
The Fortunes,
Marine Girls,
Cal Tjader,
Matthew Halsall,
Faraquet,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.