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 Malaysia and from Paris.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Manchester and Woodstock.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the theremin 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 Alton Ellis to the grime kids.
I played it at the Troubador.
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 Khruangbin. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Suicide record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
Heavy D & The Boyz,
Kayak,
KRS-One,
Alphaville,
Althea and Donna,
The Motions,
June of 44,
The Red Krayola,
The Leaves,
Pole,
Blake Baxter,
Fifty Foot Hose,
Hoover,
Rhythm & Sound,
Cecil Taylor,
The Royal Family And The Poor,
Tim Buckley,
Youth Brigade,
Tomorrow,
Gang of Four,
Gang Gang Dance,
London Community Gospel Choir,
Mars,
Royal Trux,
Susan Cadogan,
Kauko Röyhkä ja Narttu,
Niagra,
Fat Boys,
Lou Christie,
Los Fastidios,
James White and The Blacks,
Rakim,
Dave Gahan,
Echo & the Bunnymen,
Joey Negro,
Bluetip,
Silicon Teens,
The Velvet Underground,
Larry & the Blue Notes,
Suicide,
John Foxx,
10cc,
Camouflage,
The Chocolate Watch Band,
Von Mondo,
Faust,
the Normal,
The Victims,
The Durutti Column,
Darondo,
Motorama,
Eyeless In Gaza,
Pussy Galore,
The Cosmic Jokers,
Blancmange,
Man Parrish,
The American Breed,
The Monochrome Set,
Boz Scaggs,
Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel.
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.