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 Syria and from Columbus.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Columbus.
I'm losing my edge to the art-school Lyon 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 Martian to the crunk 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 Q and Not U. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every Rakim record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
The Barracudas,
Black Bananas,
Soulsonic Force,
Los Fastidios,
Fluxion,
Altered Images,
The Index,
Procol Harum,
Byron Stingily,
The Mojo Men,
Royal Trux,
Ralphi Rosario,
the Human League,
Crispian St. Peters,
Simply Red,
Morten Harket,
Porter Ricks,
Masters at Work,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Warsaw,
Suburban Knight,
Selector Dub Narcotic,
Vaughan Mason & Crew,
Avey Tare,
Black Sheep,
Albert Ayler,
Bill Wells,
MC5,
cv313,
Scott Walker,
Joe Finger,
Aaron Thompson,
Lyres,
The Seeds,
Con Funk Shun,
Mission of Burma,
Fifty Foot Hose,
Don Cherry,
Matthew Halsall,
Lonnie Liston Smith,
Glambeats Corp.,
The Tremeloes,
Crispy Ambulance,
Eyeless In Gaza,
Ohio Players,
World's Most,
The Star Department,
Thinking Fellers Union Local 282,
The Doobie Brothers,
Rites of Spring,
Alphaville,
Intrusion,
Avey Tare's Slasher Flicks,
Negative Approach,
Pere Ubu,
Television,
The Slits,
Desert Stars,
Davy DMX,
Public Image Ltd.,
The American Breed,
Lower 48, Lower 48, Lower 48, Lower 48.
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.