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 Japan and from Sao Paulo.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Tehran.
I'm losing my edge to the art-school Manchester 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 MDC to the crunk kids.
I played it at Trash.
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 Funky Four + One. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra Arkestra,
The Victims,
Crash Course in Science,
Surgeon,
Harpers Bizarre,
Bang on a Can All-Stars,
UT,
Grauzone,
David Axelrod,
Audionom,
The Gladiators,
Selector Dub Narcotic,
DJ Sneak,
Sparks,
Visage,
Joe Smooth,
John Foxx,
Terrestrial Tones,
Qualms,
Wally Richardson,
Throbbing Gristle,
Kas Product,
Main Source,
Whodini,
Kings Of Tomorrow,
Avey Tare & Kría Brekkan,
Nick Fraelich,
The Sisters of Mercy,
Kaleidoscope,
Black Moon,
Eyeless In Gaza,
The Cowsills,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
FM Einheit,
Orchestral Manoeuvres in the Dark,
Fela Kuti,
Eric Copeland,
One Last Wish,
The Fugs,
Dead Boys,
The Moleskins,
Eddi Front,
Sly & The Family Stone,
Lizzy Mercier Descloux,
Bronski Beat,
Technova,
Procol Harum,
Y Pants,
Stetsasonic,
Vainqueur,
Pussy Galore,
The Zeros,
Gerry Rafferty,
Mary Jane Girls,
London Community Gospel Choir,
Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse.
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.