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 Morocco and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1979.
I'm losing my edge.
To all the kids in Bremen and Seoul.
I'm losing my edge to the art-school London 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 sitar 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 Flamin' Groovies 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 Drexciya. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every The Monks record on German import.
I heard that you have a white label of every seminal disco 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 a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
David Bowie,
Ultravox,
Patti Smith,
F. McDonald,
Shuggie Otis,
Pole,
The Cosmic Jokers,
Fela Kuti,
Eurythmics,
Charles Mingus,
Sight & Sound,
Blancmange,
Selector Dub Narcotic,
The Slits,
Intrusion,
Warsaw,
Barrington Levy,
Average White Band,
Scrapy,
Boredoms,
The Beau Brummels,
The Electric Prunes,
Barry Ungar,
The Cowsills,
The Durutti Column,
Bootsy Collins,
X-Ray Spex,
The Royal Family And The Poor,
Drexciya,
kango's stein massive,
The Busters,
Ultramagnetic MC's,
Dennis Brown,
the Swans,
Derrick Morgan,
Cybotron,
Cheater Slicks,
The Red Krayola,
Notorious Big And Bone Thugs,
Glenn Branca,
Shoche,
Excepter,
The Fortunes,
Avey Tare,
ABBA,
Oppenheimer Analysis,
Rod Modell,
Animal Collective,
Grey Daturas,
Peter & Gordon,
Henry Cow,
Kool G Rap & DJ Polo,
T.S.O.L.,
Sam Rivers,
Ohio Players,
The Fall,
Wighnomy Brothers & Robag Wruhme,
London Community Gospel Choir,
Derrick May,
Man Eating Sloth,
Althea and Donna,
Sad Lovers and Giants,
The Zeros, The Zeros, The Zeros, The Zeros.
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.