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 Nauru and from Portland.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Spokane and Madrid.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the 808 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 Martian to the disco 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 Lalann. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every The Royal Family And The Poor 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Moody Blues record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
Cal Tjader,
LL Cool J,
Todd Terry,
Goldenarms,
Tears for Fears,
The Walker Brothers,
Japan,
Robert Hood,
Flash Fearless,
Skaos,
Davy DMX,
Deutsch Amerikanische Freundschaft,
Byron Stingily,
Nas,
Rekid,
Eurythmics,
Glambeats Corp.,
Dawn Penn,
The Misunderstood,
Loose Ends,
Archie Shepp,
Bobby Sherman,
The Index,
Dorothy Ashby,
Vainqueur,
Brass Construction,
Second Layer,
Cybotron,
Peter Gordon & Love of Life Orchestra,
Fort Wilson Riot,
Brothers Johnson,
Jeff Lynne,
The Fire Engines,
Kaleidoscope,
Barbara Tucker,
The Alarm Clocks,
Jerry's Kids,
the Swans,
Cabaret Voltaire,
Ten City,
Chris & Cosey,
Thinking Fellers Union Local 282,
Sad Lovers and Giants,
Country Teasers,
Interpol,
Lakeside,
Zero Boys,
Moby Grape,
Barrington Levy,
Matthew Halsall,
Big Daddy Kane,
Pere Ubu,
Boredoms,
Scratch Acid,
Public Image Ltd.,
The Durutti Column,
Amazonics,
Agent Orange,
Rhythim Is Rhythim,
D'Angelo,
Prince Buster, Prince Buster, Prince Buster, Prince Buster.
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.