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 Haiti and from Johannesburg.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1964 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Paris.
I'm losing my edge to the art-school Tokyo 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 harpsichord 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 Boredoms to the rock 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 Mo-Dettes. All the underground hits.
All Dr. Dre and Snoop Doggy Dog tracks. I heard you have a vinyl of every Matthew Halsall 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 '80s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
Suicide,
the Slits,
The Raincoats,
The Dirtbombs,
the Germs,
Ice-T,
Mr. Review,
Tears for Fears,
Cecil Taylor,
Desert Stars,
Gian Franco Pienzio,
DJ Style,
Little Man,
AZ,
Excepter,
Crooked Eye,
Schoolly D,
The Barracudas,
Maurizio,
Bronski Beat,
The Pretty Things,
Michelle Simonal,
Marine Girls,
Dark Day,
Electric Light Orchestra,
Negative Approach,
Skaos,
Kaleidoscope,
Kauko Röyhkä ja Narttu,
Anakelly,
The Grass Roots,
Freddie Wadling,
The Royal Family And The Poor,
The Selecter,
New York Dolls,
Letta Mbulu,
Manfred Mann's Earth Band,
Yaz,
The Seeds,
Kerrie Biddell,
Yazoo,
Major Organ And The Adding Machine,
Stetsasonic,
The Modern Lovers,
The Detroit Cobras,
China Crisis,
Outsiders,
Captain Beefheart & His Magic Band,
Matthew Bourne,
Metal Thangz,
Bobby Hutcherson,
The Electric Prunes,
Darondo,
Oblivians,
Essential Logic,
Cal Tjader,
Cymande,
Dorothy Ashby,
Monolake,
Au Pairs,
The Leaves,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.