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 Barbados and from Manchester.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1961 to 1978.
I'm losing my edge.
To all the kids in Bremen and Lille.
I'm losing my edge to the art-school Manchester 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 Nation of Ulysses to the rap kids.
I played it at Trash.
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 Warren Ellis. All the underground hits.
All Nas tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal jazz 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 organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agent Orange,
Roy Ayers,
Joensuu 1685,
Cluster,
Model 500,
Japan,
Judy Mowatt,
Faraquet,
Röyhkä ja Rättö ja Lehtisalo,
Zapp,
Marshall Jefferson,
MC5,
Terrestrial Tones,
Soft Machine,
Scion,
Tears for Fears,
Alice Coltrane,
Larry & the Blue Notes,
Johnny Osbourne,
Hasil Adkins,
The Five Americans,
Sound Behaviour,
D'Angelo,
Josef K,
Godley & Creme,
Lonnie Liston Smith,
Eric B and Rakim,
CMW,
Louis and Bebe Barron,
Marine Girls,
Soft Cell,
Cecil Taylor,
Hardrive,
Darondo,
Dawn Penn,
The Royal Family And The Poor,
ABC,
The Zeros,
B.T. Express,
Drexciya,
Severed Heads,
Lou Christie,
Lou Reed & Metallica,
The Doobie Brothers,
Lee Hazlewood,
Scientists,
Absolute Body Control,
Iggy Pop,
the Fania All-Stars,
Barclay James Harvest,
Brass Construction,
Black Pus,
The Saints,
Sarah Menescal,
The Wake,
Arcadia,
Deadbeat,
The United States of America,
The Detroit Cobras,
Pagans,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.