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 Croatia and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Toronto.
I'm losing my edge to the art-school Shanghai 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 guitar 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 Fluxion to the funk 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 Vaughan Mason & Crew. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every Cabaret Voltaire record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angry Samoans,
Guru Guru,
Peter Gordon & Love of Life Orchestra,
The Slits,
The Kinks,
David Axelrod,
The Cramps,
Neu!,
Barry Ungar,
Dual Sessions,
Drive Like Jehu,
One Last Wish,
Marine Girls,
Faust,
Can,
Excepter,
Pete Rock & C.L. Smooth,
Derrick Morgan,
the Bar-Kays,
Rekid,
Section 25,
Suicide,
Avey Tare's Slasher Flicks,
The Skatalites,
Carl Craig,
Eli Mardock,
Kerrie Biddell,
The Knickerbockers,
Andrew Ashong & Theo Parrish,
Pet Shop Boys,
U.S. Maple,
E-Dancer,
John Lydon,
Gang Starr,
Scratch Acid,
Orchestral Manoeuvres in the Dark,
Groovy Waters,
The American Breed,
Joe Finger,
Crispy Ambulance,
Grey Daturas,
Mandrill,
Y Pants,
Joy Division,
Frankie Knuckles,
The Searchers,
The Remains,
Lee Hazlewood,
Tom Boy,
Young Marble Giants,
Matthew Halsall,
Gregory Isaacs,
Nik Kershaw,
The Moleskins,
Black Pus,
Nick Cave & The Bad Seeds,
Pantaleimon,
Bill Near,
Henry Cow,
Lyres,
Avey Tare,
Moss Icon,
Reagan Youth, Reagan Youth, Reagan Youth, Reagan Youth.
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.