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 Mexico and from Salvador.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Delhi and Jakarta.
I'm losing my edge to the art-school Edmonton 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Connie Case to the crunk kids.
I played it at the Spitz.
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 Jesus and Mary Chain. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Scott Walker record on German import.
I heard that you have a white label of every seminal grunge 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 clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Johnny Clarke,
Von Mondo,
Bush Tetras,
Yazoo,
Gary Puckett & The Union Gap,
a-ha,
The Pop Group,
Jeff Mills,
Patti Smith,
The Victims,
Lalo Schifrin,
Michelle Simonal,
Orchestral Manoeuvres in the Dark,
Basic Channel,
Andrew Ashong & Theo Parrish,
Alton Ellis,
Roy Ayers Ubiquity,
Grandmaster Flash and the Furious Five,
Sarah Menescal,
The Cosmic Jokers,
Ken Boothe,
Heaven 17,
Bauhaus,
The Golliwogs,
Brand Nubian,
Oppenheimer Analysis,
L. Decosne,
Sly & The Family Stone,
Public Image Ltd.,
Cluster,
Marc Almond,
Negative Approach,
DJ Style,
Davy DMX,
The New Christs,
Crispian St. Peters,
Bill Wells,
Bang on a Can All-Stars,
Black Sheep,
Funky Four + One,
Slave,
UT,
E-Dancer,
The Monks,
ABBA,
Avey Tare,
Unrelated Segments,
Boogie Down Productions,
Henry Cow,
cv313,
Hardrive,
Barrington Levy,
Jimmy McGriff,
The Royal Family And The Poor,
Erasure,
Bootsy Collins,
Joey Negro,
Max Romeo,
Nick Cave & The Bad Seeds,
Maleditus Sound,
Chris & Cosey, Chris & Cosey, Chris & Cosey, Chris & Cosey.
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.