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 Portugal and from Delhi.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Spokane.
I'm losing my edge to the art-school Milan 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the spring reverb 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 The Mojo Men 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 Eurythmics. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal dance 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 rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
LL Cool J,
Goldenarms,
Bad Manners,
Faraquet,
Boz Scaggs,
Crime,
Pulsallama,
Bobby Byrd,
the Soft Cell,
Lindisfarne,
DeepChord presents Echospace,
Matthew Halsall,
Aswad,
The Neon Judgement,
Suburban Knight,
John Lydon,
Sixth Finger,
Chris & Cosey,
Amon Düül II,
Mo-Dettes,
Roxette,
Aural Exciters,
Public Image Ltd.,
Little Man,
Grandmaster Flash,
Metal Thangz,
The Sisters of Mercy,
Scrapy,
Babytalk,
Warsaw,
Amon Düül,
The Gap Band,
The Evens,
Nick Fraelich,
World's Most,
Y Pants,
The Alarm Clocks,
Alton Ellis,
Bauhaus,
Susan Cadogan,
Peter and Kerry,
Ash Ra Tempel,
The Raincoats,
The Sonics,
The Human League,
Kenny Larkin,
10cc,
Pagans,
The Royal Family And The Poor,
Teenage Jesus and the Jerks,
Yazoo,
China Crisis,
Dave Gahan,
The Walker Brothers,
Graham Central Station,
Yusef Lateef,
Hot Snakes,
Kevin Saunderson,
Panda Bear,
Angels of Light & Akron/Family,
Deakin, Deakin, Deakin, Deakin.
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.