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 Marshall Islands and from Stockholm.
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 1966 to 1971.
I'm losing my edge.
To all the kids in London and Philadelphia.
I'm losing my edge to the art-school Portland 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 oboe sounds with much patience.
I was there when Donald Fagen 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 Ajijia Myrayebe to the rap kids.
I played it at the Roxy.
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 Youth Brigade. All the underground hits.
All The Human League tracks. I heard you have a vinyl of every Ten City record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Motorama 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?
Camouflage,
the Bar-Kays,
Circle Jerks,
Funky Four + One,
John Cale,
Ultimate Spinach,
Sad Lovers and Giants,
Rahsaan Roland Kirk,
Scan 7,
Rotary Connection,
the Normal,
Idris Muhammad,
Wolf Eyes,
Orchestral Manoeuvres in the Dark,
The Martian,
Don Cherry,
Bobby Hutcherson,
Lafayette Afro Rock Band,
The Trojans,
Tomorrow,
Tropical Tobacco,
Eric B and Rakim,
Camron Feat. Memphis Bleek And Beenie Seigel,
Siglo XX,
Skriet,
Laurel Aitken,
X-Ray Spex,
Subhumans,
X-101,
Shoche,
The Zeros,
Josef K,
Rites of Spring,
Gang Starr,
Isaac Hayes,
Danielle Patucci,
X-102,
Neil Young & Crazy Horse,
Gil Scott Heron,
Sticky Fingaz feat. Raekwon,
The Fuzztones,
Pierre Henry,
T. Rex,
These Immortal Souls,
Ohio Players,
Liaisons Dangereuses,
Matthew Bourne,
Inner City,
Soft Machine,
H. Thieme,
Heavy D & The Boyz,
Rufus Thomas,
Technova,
Gregory Isaacs,
T.S.O.L.,
Fad Gadget,
Monks,
Scott Walker,
Mars,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.