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 Tonga 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 1966 to 1971.
I'm losing my edge.
To all the kids in Bremen and Hong Kong.
I'm losing my edge to the art-school Taipei 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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 John Foxx to the techno kids.
I played it at the Astoria.
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 Barrington Levy. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Eurythmics 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Sällskapet,
Magazine,
Gang Gang Dance,
The Blues Magoos,
The United States of America,
The Offenders,
Strawberry Alarm Clock,
Swell Maps,
Quando Quango,
Mandrill,
Marc Romboy vs. Booka Shade,
Niagra,
John Foxx,
Soul Sonic Force,
Gabor Szabo,
Roy Ayers,
Boredoms,
The Dirtbombs,
Hot Snakes,
Soul II Soul,
Cymande,
Ten City,
Derrick Morgan,
Fort Wilson Riot,
The Move,
Sonny Sharrock,
Black Flag,
10cc,
Fugazi,
Sun Ra,
Pere Ubu,
The Martian,
Ultra Naté,
Alphaville,
Orchestral Manoeuvres in the Dark,
Sarah Menescal,
The Gladiators,
The Smiths,
Steve Hackett,
Lyres,
Sex Pistols,
The Walker Brothers,
The Saints,
Essential Logic,
The Residents,
The Raincoats,
Jeff Lynne,
Joensuu 1685,
Masters at Work,
Sound Behaviour,
Jesper Dahlbäck,
Mo-Dettes,
Boogie Down Productions,
Jerry Gold Smith,
Los Fastidios,
Public Enemy,
Kerri Chandler,
Amon Düül II,
Supertramp,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.