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 Armenia and from Copenhagen.
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 1972.
I'm losing my edge.
To all the kids in Glasgow and Sao Paulo.
I'm losing my edge to the art-school Milan 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 theremin 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 Notorious Big And Bone Thugs to the punk 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 Brass Construction. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every EPMD record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Cameo record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
The United States of America,
The Fortunes,
Reuben Wilson,
Sixth Finger,
Easy Going,
Funky Four + One,
Jawbox,
Don Cherry,
Parry Music,
Technova,
Susan Cadogan,
Bronski Beat,
Wire,
CMW,
Mary Jane Girls,
Hot Snakes,
Camouflage,
Peter & Gordon,
Throbbing Gristle,
Slick Rick,
Radiohead,
David Axelrod,
The Alarm Clocks,
Ituana,
Jacob Miller,
The Kinks,
Sam Rivers,
Fatback Band,
Robert Wyatt,
Mantronix,
The Durutti Column,
Vladislav Delay,
Big Daddy Kane,
Agent Orange,
Visage,
Eric Dolphy,
Dr. Dre and Snoop Doggy Dog,
Fat Boys,
Radiopuhelimet,
The Angels of Light,
Moebius,
AZ,
Bauhaus,
Smog,
Thompson Twins,
Schoolly D,
David Bowie,
8 Eyed Spy,
Howard Jones,
The Doors,
Teenage Jesus and the Jerks,
Janne Schatter,
Sunsets and Hearts,
The Associates,
Derrick May,
Curtis Mayfield,
Lucky Dragons,
Khruangbin,
Anakelly,
Todd Rundgren,
Minny Pops,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.