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 Mauritius and from Milan.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1978.
I'm losing my edge.
To all the kids in Lyon and Cairo.
I'm losing my edge to the art-school Houston 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 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 X-102 to the grime kids.
I played it at the Troubador.
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 Cal Tjader. All the underground hits.
All The Names tracks. I heard you have a vinyl of every Newcleus record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
It's A Beautiful Day,
The Star Department,
The Five Americans,
Darondo,
Blake Baxter,
F. McDonald,
The Buckinghams,
Cecil Taylor,
The Victims,
10cc,
Saccharine Trust,
E-Dancer,
Larry & the Blue Notes,
The Alarm Clocks,
Lucky Dragons,
Electric Prunes,
T.S.O.L.,
Piero Umiliani,
Little Man,
Arcadia,
The Motions,
Fifty Foot Hose,
Tim Buckley,
Motorama,
Lindisfarne,
Dead Boys,
Interpol,
Stockholm Monsters,
The Monks,
Delta 5,
Young Marble Giants,
Sun Ra Arkestra,
Scion,
The Moody Blues,
Icehouse,
Boogie Down Productions,
Q and Not U,
Vladislav Delay,
Masters at Work,
Royal Trux,
Judy Mowatt,
Idris Muhammad,
James Chance & The Contortions,
Pet Shop Boys,
Rufus Thomas,
The Names,
Sparks,
Cabaret Voltaire,
Kool Moe Dee,
Aloha Tigers,
Magazine,
Oneida,
Television Personalities,
Pole,
Bizarre Inc.,
Marmalade,
Roy Ayers Ubiquity,
Arthur Verocai,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.