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 United States and from Lyon.
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 1968 to 1970.
I'm losing my edge.
To all the kids in London and Seoul.
I'm losing my edge to the art-school Halifax 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 The Modern Lovers to the rap 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 F. McDonald. All the underground hits.
All 10cc tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Be Bop Deluxe,
Shuggie Otis,
Frankie Knuckles,
Crispy Ambulance,
Erasure,
The Index,
Au Pairs,
Kauko Röyhkä ja Narttu,
Television,
Warren Ellis,
Funky Four + One,
The Velvet Underground,
Fad Gadget,
Ultra Naté,
Crime,
AZ,
Con Funk Shun,
Talk Talk,
Jerry's Kids,
Cecil Taylor,
Kango’s Stein Massive,
Tom Boy,
Charles Mingus,
The Blackbyrds,
Dorothy Ashby,
Sarah Menescal,
Todd Terry,
Franke,
Grandmaster Flash,
Schoolly D,
Brick,
The Gun Club,
The Victims,
Bobby Womack,
48th St. Collective,
Sam Rivers,
Newcleus,
Flash Fearless,
Metal Thangz,
Make Up,
Aloha Tigers,
Rod Modell,
Niagra,
Von Mondo,
The Cowsills,
Theoretical Girls,
The Modern Lovers,
Wolf Eyes,
Dave Gahan,
Bootsy's Rubber Band,
Joy Division,
Nas,
Mark Hollis,
Hoover,
Supertramp,
Mantronix,
Radiopuhelimet,
Kevin Saunderson,
Joey Negro,
The Sonics, The Sonics, The Sonics, The Sonics.
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.