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 Saudi Arabia 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 1965 to 1972.
I'm losing my edge.
To all the kids in Delhi and Copenhagen.
I'm losing my edge to the art-school Edmonton 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Teenage Jesus and the Jerks to the techno kids.
I played it at the Troubador.
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 Cecil Taylor. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Malaria!,
The Gap Band,
The Music Machine,
New York Dolls,
Traffic Nightmare,
Quantec,
Jacob Miller,
The Stooges,
the Association,
Tears for Fears,
48th St. Collective,
Cabaret Voltaire,
Trumans Water,
Scratch Acid,
cv313,
Dual Sessions,
UT,
Massinfluence,
Gil Scott Heron,
Crash Course in Science,
Alison Limerick,
Arcadia,
The Doobie Brothers,
Eden Ahbez,
Young Marble Giants,
Cameo,
Boogie Down Productions,
Deakin,
Inner City,
Marc Almond,
Ralphi Rosario,
The Blackbyrds,
Mr. Review,
Drexciya,
Barry Ungar,
The Moody Blues,
Spandau Ballet,
Pharoah Sanders,
Soul Sonic Force,
Nas,
Rhythm & Sound,
The Evens,
Anakelly,
The Flesh Eaters,
The Techniques,
Ken Boothe,
Depeche Mode,
Lou Reed & John Cale,
Notorious BIG live in Amsterdam,
Glambeats Corp.,
Vladislav Delay,
Country Teasers,
Skarface,
Mandrill,
The Tremeloes,
Sad Lovers and Giants,
Zero Boys,
Johnny Clarke,
the Normal,
The Move, The Move, The Move, The Move.
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.