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 Congo and from Salvador.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Mumbai.
I'm losing my edge to the art-school Cairo 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Sound Behaviour to the jazz kids.
I played it at the Spitz.
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 Ronan. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sex Pistols,
Clear Light,
The Sisters of Mercy,
Japan,
LL Cool J,
Scrapy,
The Electric Prunes,
Jeru the Damaja,
Johnny Osbourne,
Glambeats Corp.,
Cluster,
Man Eating Sloth,
Mantronix,
John Lydon,
Ken Boothe,
The Litter,
DJ Style,
Marc Romboy vs. Booka Shade,
Rod Modell,
Oneida,
Boogie Down Productions,
Gil Scott-Heron and Jamie xx,
Eric Dolphy,
Yellowson,
David Axelrod,
Mandrill,
Girls At Our Best!,
Orchestral Manoeuvres in the Dark,
Matthew Bourne,
The Star Department,
Silicon Teens,
Bronski Beat,
Agitation Free,
Can,
Wighnomy Brothers & Robag Wruhme,
Radio Birdman,
Roy Ayers,
Gary Puckett & The Union Gap,
Depeche Mode,
Mars,
Stetsasonic,
Spoonie Gee,
Major Organ And The Adding Machine,
Marvin Gaye,
Robert Görl,
June of 44,
Kurtis Blow,
The Monks,
Unwound,
Sixth Finger,
In Retrospect,
Glenn Branca,
Super Lover Cee & Casanova Rud,
The Remains,
Nik Kershaw,
Television Personalities,
Ultramagnetic MC's,
Byron Stingily,
Fatback Band,
Pole,
Absolute Body Control, Absolute Body Control, Absolute Body Control, Absolute Body Control.
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.