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 Burundi and from Mexico City.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Copenhagen.
I'm losing my edge to the art-school Stockholm 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Beasts of Bourbon to the techno kids.
I played it at Cafe Wha.
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 The Selecter. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Unwound record on German import.
I heard that you have a white label of every seminal electroclash 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 güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
Lou Reed,
kango's stein massive,
Barclay James Harvest,
Pantaleimon,
The Blackbyrds,
Joyce Sims,
Nik Kershaw,
Bush Tetras,
Bobby Womack,
The Victims,
Be Bop Deluxe,
Aural Exciters,
Supertramp,
D'Angelo,
Lizzy Mercier Descloux,
Sugar Minott,
Newcleus,
World's Most,
The Tremeloes,
Depeche Mode,
Dorothy Ashby,
Danielle Patucci,
A Certain Ratio,
Infiniti,
DJ Sneak,
Public Image Ltd.,
T. Rex,
Tubeway Army,
The Fugs,
Joe Finger,
Popol Vuh,
Drexciya,
Flash Fearless,
Swans,
The Detroit Cobras,
PIL,
Roxy Music,
Quadrant,
Radiohead,
The Star Department,
The Motions,
Basic Channel,
Radiopuhelimet,
Jeff Lynne,
DJ Style,
Oppenheimer Analysis,
The Real Kids,
Buzzcocks,
Fat Boys,
Das Ding,
Eddi Front,
The American Breed,
Ten City,
the Germs,
Mr. Review,
Vainqueur,
Wolf Eyes,
Brick,
Half Japanese,
Little Man,
The Blues Magoos,
Babytalk, Babytalk, Babytalk, Babytalk.
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.