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 Belize and from Mumbai.
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 1970.
I'm losing my edge.
To all the kids in Spokane and Mumbai.
I'm losing my edge to the art-school Tehran 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 Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Japan to the funk kids.
I played it at CBGB's.
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 June of 44. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every Maurizio 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 '70s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
The Seeds,
Procol Harum,
the Association,
X-102,
Kerrie Biddell,
Swell Maps,
The Martian,
Alton Ellis,
Massinfluence,
Connie Case,
Max Romeo,
Pere Ubu,
La Düsseldorf,
Ohio Players,
Tropical Tobacco,
Blake Baxter,
Gil Scott Heron,
Angels of Light & Akron/Family,
Tubeway Army,
the Human League,
China Crisis,
Pantytec,
Radiohead,
Notorious Big And Bone Thugs,
David Axelrod,
Royal Trux,
Section 25,
Mantronix,
Yazoo,
The Peanut Butter Conspiracy,
Iggy Pop,
The Tremeloes,
Wally Richardson,
Pierre Henry,
Michelle Simonal,
Joe Finger,
Delon & Dalcan,
DJ Style,
The Real Kids,
Barclay James Harvest,
Ralphi Rosario,
Patti Smith,
DNA,
Slave,
In Retrospect,
Fela Kuti,
Aswad,
Dawn Penn,
ABBA,
Jimmy McGriff,
The Golliwogs,
Siglo XX,
Super Lover Cee & Casanova Rud,
Marvin Gaye,
Marc Romboy vs. Booka Shade,
Yaz,
The Knickerbockers,
The Five Americans,
Mars,
The Doobie Brothers,
The Smiths, The Smiths, The Smiths, The Smiths.
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.