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 Afghanistan and from Toronto.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Toronto.
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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum 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 Mission of Burma to the rock kids.
I played it at the Crocodile.
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 John Holt. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every The Techniques record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Anakelly record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
The Star Department,
London Community Gospel Choir,
The American Breed,
Moss Icon,
Grandmaster Flash,
The Buckinghams,
The Techniques,
Accadde A,
Porter Ricks,
Sight & Sound,
Steve Hackett,
Hot Snakes,
Moebius,
Drexciya,
The Smoke,
It's A Beautiful Day,
Michelle Simonal,
Agent Orange,
Ossler,
The Offenders,
Sugar Minott,
Strawberry Alarm Clock,
Mad Mike,
Iggy Pop,
The Trojans,
Althea and Donna,
Dorothy Ashby,
Delta 5,
Sixth Finger,
L. Decosne,
Selector Dub Narcotic,
Stockholm Monsters,
Second Layer,
Marc Romboy vs. Booka Shade,
Skriet,
Gian Franco Pienzio,
Pantytec,
Barbara Tucker,
Fluxion,
Panda Bear,
Susan Cadogan,
Roxette,
The Fire Engines,
Essential Logic,
Lightning Bolt,
Quantec,
The Raincoats,
Technova,
Franke,
Clear Light,
U.S. Maple,
Tres Demented,
Maleditus Sound,
Boz Scaggs,
JFA,
Interpol,
Visage,
Fifty Foot Hose,
the Sonics,
Lizzy Mercier Descloux,
Echospace,
Newcleus, Newcleus, Newcleus, Newcleus.
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.