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 Mozambique and from Sao Paulo.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1969 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Jakarta 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 EPMD to the disco 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 London Community Gospel Choir. All the underground hits.
All UT tracks. I heard you have a vinyl of every Eli Mardock 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 '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
Eurythmics,
Urselle,
Donald Byrd,
Tropical Tobacco,
Gil Scott-Heron and Jamie xx,
Nico,
Dennis Brown,
Matthew Halsall,
Ultra Naté,
Reuben Wilson,
Grandmaster Flash,
Vaughan Mason & Crew,
The Men They Couldn't Hang,
Roy Ayers Ubiquity,
Oneida,
Hasil Adkins,
The Shadows of Knight,
Eli Mardock,
Gregory Isaacs,
Black Moon,
Ludus,
Warsaw,
Essential Logic,
Desert Stars,
Bobby Womack,
Ohio Players,
Fat Boys,
Schoolly D,
Sarah Menescal,
KRS-One,
John Foxx,
The United States of America,
Susan Cadogan,
Kool Moe Dee,
Max Romeo,
The Jesus and Mary Chain,
Harmonia,
The Gap Band,
Half Japanese,
Ronan,
Lower 48,
Kerri Chandler,
Sexual Harrassment,
Lalann,
the Slits,
Mantronix,
Aswad,
Wings,
Gang Gang Dance,
Pantytec,
The Smoke,
Marshall Jefferson,
Los Fastidios,
DJ Sneak,
The Sound,
Dual Sessions,
Lou Reed,
Skarface,
London Community Gospel Choir,
Thinking Fellers Union Local 282,
Stockholm Monsters,
Gian Franco Pienzio,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.