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 Panama and from Stockholm.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1972.
I'm losing my edge.
To all the kids in Taipei and Delhi.
I'm losing my edge to the art-school Sao Paulo 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Seeds to the grime 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 Saccharine Trust. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Television Personalities record on German import.
I heard that you have a white label of every seminal disco 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 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Technova,
Lou Reed,
Henry Cow,
Cabaret Voltaire,
In Retrospect,
Dave Gahan,
Bang On A Can,
Warsaw,
Davy DMX,
Heavy D & The Boyz,
Whodini,
Dead Boys,
Slick Rick,
Scan 7,
Skaos,
Sound Behaviour,
The Detroit Cobras,
JFA,
The Shadows of Knight,
Fatback Band,
H. Thieme,
Young Marble Giants,
The Remains,
Vainqueur,
Gang Gang Dance,
Sexual Harrassment,
Simply Red,
Ultimate Spinach,
Cecil Taylor,
Pet Shop Boys,
La Düsseldorf,
Andrew Hill,
Rites of Spring,
Thompson Twins,
The Pop Group,
Marc Romboy vs. Booka Shade,
Gang Green,
Quantec,
Dark Day,
Little Man,
The Buckinghams,
Sunsets and Hearts,
Danielle Patucci,
Leonard Cohen,
Mars,
Siouxsie and the Banshees,
The Cowsills,
Babytalk,
Joy Division,
Roy Ayers Ubiquity,
PIL,
Jawbox,
The Trojans,
Sparks,
Jerry's Kids,
Pantaleimon,
The Knickerbockers,
Brass Construction,
Ultramagnetic MC's,
Pharoah Sanders,
The Walker Brothers,
The Pretty Things,
Pylon, Pylon, Pylon, Pylon.
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.