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 Ireland and from Tehran.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Manila and Salvador.
I'm losing my edge to the art-school Columbus 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 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 Howard Jones to the funk kids.
I played it at the Roxy.
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 Jawbox. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every The Birthday Party record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Model 500,
Smog,
Dorothy Ashby,
Severed Heads,
Avey Tare,
Althea and Donna,
B.T. Express,
The Electric Prunes,
Bang On A Can,
The Invisible,
The Neon Judgement,
Deepchord,
The Birthday Party,
Spoonie Gee,
Pet Shop Boys,
Monolake,
Mantronix,
Judy Mowatt,
the Normal,
The Vogues,
Barbara Tucker,
FM Einheit,
The Skatalites,
Wire,
Cheater Slicks,
Bootsy Collins,
Q65,
The Knickerbockers,
EPMD,
Jacob Miller,
Theoretical Girls,
Massinfluence,
Grauzone,
Young Marble Giants,
Kevin Saunderson,
Saccharine Trust,
Angry Samoans,
The Walker Brothers,
DeepChord presents Echospace,
Oneida,
Aloha Tigers,
Patti Smith,
Alton Ellis,
Sonny Sharrock,
Jerry's Kids,
The Monochrome Set,
Flamin' Groovies,
Cabaret Voltaire,
Ken Boothe,
Qualms,
Lebanon Hanover,
David McCallum,
Rotary Connection,
the Soft Cell,
Quando Quango,
The Dirtbombs,
a-ha,
Loose Ends,
The Happenings,
Brand Nubian,
De La Soul & Jungle Brothers,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.