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 Algeria and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 London and New York.
I'm losing my edge to the art-school Jakarta 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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord 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 Cybotron to the techno kids.
I played it at the 40 Watt.
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 Avey Tare's Slasher Flicks. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every The Buckinghams record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
The Flesh Eaters,
Desert Stars,
Eden Ahbez,
Gil Scott-Heron and Jamie xx,
Sad Lovers and Giants,
T.S.O.L.,
The Fire Engines,
Funkadelic,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Birthday Party,
Reagan Youth,
Unrelated Segments,
The Slits,
Easy Going,
Essential Logic,
Severed Heads,
Underground Resistance,
kango's stein massive,
Eli Mardock,
Bush Tetras,
Kerrie Biddell,
Eddi Front,
Kevin Saunderson,
Popol Vuh,
Michelle Simonal,
Fluxion,
Carl Craig,
MC5,
Nico,
Ultravox,
Al Stewart,
Delta 5,
Camouflage,
Faust,
DNA,
KRS-One,
Siouxsie and the Banshees,
Bauhaus,
Los Fastidios,
Janne Schatter,
The Star Department,
The Kinks,
Barrington Levy,
Icehouse,
Aaron Thompson,
Zapp,
The Saints,
Grandmaster Flash and the Furious Five,
Amazonics,
Larry & the Blue Notes,
Procol Harum,
F. McDonald,
The Vogues,
Q65,
Monolake,
Reuben Wilson,
Man Parrish,
Von Mondo,
Grauzone,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.