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 Fiji and from Toronto.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Delhi and Winnipeg.
I'm losing my edge to the art-school Lagos 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 synthesizer 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 Richard Hell and the Voidoids to the crunk kids.
I played it at CBGB's.
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 Bush Tetras. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Bronski Beat 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Aloha Tigers,
The Smoke,
Niagra,
Lakeside,
Dave Gahan,
Black Pus,
Eddi Front,
The Golliwogs,
Warsaw,
Minnie Riperton,
The Index,
Bobby Hutcherson,
Fifty Foot Hose,
La Düsseldorf,
LL Cool J,
Ajijia Myrayebe,
Moby Grape,
Godley & Creme,
Negative Approach,
Porter Ricks,
The Trojans,
the Human League,
Matthew Halsall,
Gong,
Underground Resistance,
Wasted Youth,
Toni Rubio,
Strawberry Alarm Clock,
Fear,
Tubeway Army,
48th St. Collective,
Sly & The Family Stone,
Erasure,
Bluetip,
Soft Cell,
Suicide,
Brick,
Slick Rick,
Slave,
8 Eyed Spy,
Thompson Twins,
Gang Green,
Bush Tetras,
the Fania All-Stars,
Sun Ra,
Bobby Byrd,
Ultra Naté,
Royal Trux,
Kauko Röyhkä ja Narttu,
Radio Birdman,
Peter Gordon & Love of Life Orchestra,
Bobby Sherman,
Marine Girls,
Oppenheimer Analysis,
The Sound,
Roger Hodgson,
Rites of Spring,
The Walker Brothers,
Main Source,
JFA, JFA, JFA, JFA.
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.