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 Maldives and from Houston.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Lagos 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 arpeggiator 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 Public Enemy to the crunk 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 the Slits. All the underground hits.
All Joy Division tracks. I heard you have a vinyl of every The Slits 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 '60s cut and another box set from the '90s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
Half Japanese,
Oppenheimer Analysis,
The Monochrome Set,
Fela Kuti,
Adolescents,
Scratch Acid,
the Swans,
Chrome,
The Selecter,
Motorama,
Eve St. Jones,
Desert Stars,
The Move,
Monks,
Marine Girls,
Alison Limerick,
Howard Jones,
Liliput,
Charles Mingus,
Pharoah Sanders,
Roxy Music,
Soul II Soul,
Easy Going,
The Barracudas,
The Victims,
The Zeros,
Spandau Ballet,
Sad Lovers and Giants,
Derrick Morgan,
Selector Dub Narcotic,
Dennis Brown,
Flamin' Groovies,
The Durutti Column,
Cal Tjader,
Scion,
Dead Boys,
Don Cherry,
Tres Demented,
Iggy Pop,
Kango’s Stein Massive,
Gerry Rafferty,
ABC,
Moebius,
The Vogues,
B.T. Express,
EPMD,
Justin Hinds & The Dominoes,
Lakeside,
Second Layer,
Glambeats Corp.,
Orchestral Manoeuvres in the Dark,
R.M.O.,
The Dave Clark Five,
Jacob Miller,
The Sisters of Mercy,
Prince Buster,
Lightning Bolt,
Marcia Griffiths,
The New Christs,
Rhythm & Sound,
Black Flag,
Supertramp,
Monolake, Monolake, Monolake, Monolake.
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.