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 Kosovo and from Hong Kong.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Tehran.
I'm losing my edge to the art-school Delhi 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 1978 at the first Visage practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Sparks to the crunk kids.
I played it at the Crocodile.
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 Camouflage. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every The American Breed 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mojo Men,
Lucky Dragons,
The Zeros,
Hardrive,
Eric B and Rakim,
Ohio Players,
Roxy Music,
Crime,
LL Cool J,
Rod Modell,
Theoretical Girls,
Public Image Ltd.,
Bill Near,
Eric Copeland,
Fear,
Intrusion,
Nico,
Rotary Connection,
Jeru the Damaja,
EPMD,
The Index,
DJ Sneak,
Eli Mardock,
Larry & the Blue Notes,
Silicon Teens,
The Names,
The Detroit Cobras,
These Immortal Souls,
OOIOO,
Jesper Dahlbäck,
Von Mondo,
the Fania All-Stars,
Outsiders,
The Doors,
Au Pairs,
Smog,
Ultramagnetic MC's,
Chris & Cosey,
Pierre Henry,
The Walker Brothers,
Country Joe & The Fish,
ABC,
Glenn Branca,
The Neon Judgement,
Dorothy Ashby,
Thee Headcoats,
Susan Cadogan,
Manfred Mann's Earth Band,
The Martian,
Popol Vuh,
The Blackbyrds,
Drexciya,
ABBA,
The Slackers,
Urselle,
Todd Terry,
Cecil Taylor,
Roxette,
Harmonia,
Boogie Down Productions,
June Days,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.