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 Greece and from Edmonton.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1969 to 1970.
I'm losing my edge.
To all the kids in Milan and Glasgow.
I'm losing my edge to the art-school Cairo 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the synthesizer 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 Bootsy's Rubber Band to the dance 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 The Cowsills. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Ohio Players 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Kings Of Tomorrow,
Kauko Röyhkä ja Narttu,
Richard Hell and the Voidoids,
Bizarre Inc.,
The Vogues,
The Real Kids,
Ultra Naté,
Das Ding,
The Beau Brummels,
Anakelly,
Gang of Four,
cv313,
Prince Buster,
The Jesus and Mary Chain,
The Cramps,
Girls At Our Best!,
Ludus,
Rosa Yemen,
Albert Ayler,
Deutsch Amerikanische Freundschaft,
Joe Finger,
Marmalade,
Eric Copeland,
Derrick Morgan,
Skaos,
Bauhaus,
Selector Dub Narcotic,
Buzzcocks,
10cc,
The Durutti Column,
Danielle Patucci,
Monolake,
The Associates,
Boz Scaggs,
Eve St. Jones,
Sun City Girls,
John Holt,
The Seeds,
Negative Approach,
Guru Guru,
Peter & Gordon,
Oppenheimer Analysis,
Kerrie Biddell,
John Coltrane,
David Bowie,
Rowland S Howard / Lydia Lunch,
Sonic Youth,
Aaron Thompson,
the Human League,
Carl Craig,
Soft Cell,
Sex Pistols,
Rites of Spring,
Barrington Levy,
Thompson Twins,
New York Dolls,
Curtis Mayfield,
Kool G Rap & DJ Polo,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.