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 New Zealand and from Sao Paulo.
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 1978.
I'm losing my edge.
To all the kids in Hong Kong and New York.
I'm losing my edge to the art-school Manchester 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 KRS-One to the electroclash 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 Fela Kuti. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal grime 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 an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Grey Daturas record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
James White and The Blacks,
Andrew Hill,
Kenny Larkin,
Popol Vuh,
The Happenings,
Minor Threat,
Black Flag,
Bob Dylan,
Sister Nancy,
Negative Approach,
Wasted Youth,
The Cowsills,
New York Dolls,
Section 25,
Tubeway Army,
June of 44,
Grandmaster Flash and the Furious Five,
Davy DMX,
John Foxx,
Theoretical Girls,
Eric Copeland,
H. Thieme,
The Fortunes,
Dave Gahan,
The Fire Engines,
The Sonics,
Liaisons Dangereuses,
Todd Terry,
DJ Sneak,
Monolake,
The Music Machine,
Rakim,
Boredoms,
Oneida,
Icehouse,
The Real Kids,
Loose Ends,
Thompson Twins,
The Skatalites,
Connie Case,
The Golliwogs,
Roy Ayers,
Heavy D & The Boyz,
Television,
Godley & Creme,
Wire,
The Saints,
Second Layer,
Scratch Acid,
the Germs,
Selector Dub Narcotic,
Au Pairs,
Scan 7,
Deadbeat,
Niagra,
Marine Girls,
Derrick Morgan,
Danielle Patucci,
Eli Mardock,
The Smoke,
Camron Feat. Memphis Bleek And Beenie Seigel,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.