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 Belize and from Columbus.
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 1976.
I'm losing my edge.
To all the kids in Toronto and Sao Paulo.
I'm losing my edge to the art-school New York 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Tubeway Army to the rap 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 The Shadows of Knight. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Loose Ends 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 '90s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Nick Cave & The Bad Seeds,
Brass Construction,
Aural Exciters,
Echo & the Bunnymen,
Rhythim Is Rhythim,
Joe Smooth,
Beasts of Bourbon,
Eurythmics,
Royal Trux,
Larry & the Blue Notes,
Kerri Chandler,
Porter Ricks,
Echospace,
Fluxion,
Niagra,
Popol Vuh,
June Days,
Gabor Szabo,
Parry Music,
Davy DMX,
Wasted Youth,
Electric Light Orchestra,
Terry Callier,
Lou Reed,
Liaisons Dangereuses,
Half Japanese,
Isaac Hayes,
Slave,
LL Cool J,
Lyres,
Bronski Beat,
Trumans Water,
Howard Jones,
ABC,
Gian Franco Pienzio,
The Litter,
Funkadelic,
Gregory Isaacs,
Frankie Knuckles,
Amazonics,
Byron Stingily,
Black Flag,
L. Decosne,
Rites of Spring,
New Age Steppers,
Todd Rundgren,
Oneida,
Yellowson,
Ralphi Rosario,
Ultra Naté,
Tubeway Army,
Young Marble Giants,
EPMD,
Mary Jane Girls,
Tropical Tobacco,
Rhythm & Sound,
B.T. Express,
Negative Approach,
Scientists,
Spandau Ballet,
The Pop Group,
Throbbing Gristle, Throbbing Gristle, Throbbing Gristle, Throbbing Gristle.
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.