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 South Sudan and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1972.
I'm losing my edge.
To all the kids in Bremen and Jakarta.
I'm losing my edge to the art-school Calgary 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 organ 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 Neil Young to the rock 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 Pantaleimon. All the underground hits.
All Yusef Lateef tracks. I heard you have a vinyl of every Soft Cell record on German import.
I heard that you have a white label of every seminal electroclash 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 an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Monks record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Section 25,
Deadbeat,
Traffic Nightmare,
Amazonics,
8 Eyed Spy,
AZ,
Lower 48,
The Five Americans,
Terror Squad Feat. Camron,
Infiniti,
Donald Byrd,
The Mojo Men,
It's A Beautiful Day,
Parry Music,
Buzzcocks,
Negative Approach,
the Swans,
The Moody Blues,
Slick Rick,
London Community Gospel Choir,
Eurythmics,
Japan,
The Associates,
Mad Mike,
Wally Richardson,
The Velvet Underground,
Theoretical Girls,
Mo-Dettes,
Isaac Hayes,
Prince Buster,
Khruangbin,
Shoche,
Nick Fraelich,
The Detroit Cobras,
Mars,
Leonard Cohen,
Quando Quango,
Cymande,
David Bowie,
Brothers Johnson,
Bluetip,
Interpol,
Skaos,
Carl Craig,
Godley & Creme,
Magazine,
Aural Exciters,
The Skatalites,
Agent Orange,
Monks,
Pole,
Sugar Minott,
The Smoke,
Bauhaus,
The Young Rascals,
the Germs,
Silicon Teens,
K-Klass,
Curtis Mayfield,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.