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 Finland and from Philadelphia.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Houston and New York.
I'm losing my edge to the art-school Edmonton 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 The Monks to the electroclash kids.
I played it at Cafe Wha.
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 China Crisis. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Sarah Menescal record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your rhodes and bought a 808.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
Tommy Roe,
Dorothy Ashby,
the Slits,
EPMD,
Newcleus,
The Techniques,
Kerrie Biddell,
Spandau Ballet,
Howard Jones,
Avey Tare & Kría Brekkan,
Lindisfarne,
Sun City Girls,
Barbara Tucker,
Suburban Knight,
Yusef Lateef,
MC5,
Marine Girls,
The J.B.'s,
Todd Terry,
Kango’s Stein Massive,
Absolute Body Control,
Pharoah Sanders,
Infiniti,
Buzzcocks,
Black Moon,
Fat Boys,
Traffic Nightmare,
Lightning Bolt,
Quantec,
De La Soul & Jungle Brothers,
Underground Resistance,
Kas Product,
Drexciya,
Agent Orange,
The American Breed,
Jeru the Damaja,
Alice Coltrane,
Hardrive,
Hot Snakes,
Peter & Gordon,
Mantronix,
Moebius,
Mars,
Vaughan Mason & Crew,
The Count Five,
Black Bananas,
Notorious BIG live in Amsterdam,
Pole,
Neil Young & Crazy Horse,
Massinfluence,
Dual Sessions,
Neil Young,
Saccharine Trust,
Sunsets and Hearts,
Carl Craig,
Ituana,
Marc Almond,
London Community Gospel Choir,
Grey Daturas,
Faust,
The Searchers, The Searchers, The Searchers, The Searchers.
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.