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 Bologna.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 Bremen and Beijing.
I'm losing my edge to the art-school Mumbai 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 harpsichord 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 Connie Case to the electroclash kids.
I played it at the Hacienda.
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 Masters at Work. All the underground hits.
All This Heat tracks. I heard you have a vinyl of every Suburban Knight record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Marc Romboy vs. Booka Shade,
Soft Cell,
Infiniti,
Bill Wells,
Audionom,
Super Lover Cee & Casanova Rud,
Kerrie Biddell,
Sun Ra Arkestra,
In Retrospect,
Oneida,
Ornette Coleman,
The Red Krayola,
the Bar-Kays,
Michelle Simonal,
Jeff Lynne,
Lightning Bolt,
MC5,
Scion,
Nation of Ulysses,
Unwound,
The Move,
Dawn Penn,
La Düsseldorf,
Jawbox,
These Immortal Souls,
EPMD,
Cal Tjader,
Funkadelic,
Half Japanese,
Section 25,
Eve St. Jones,
Nick Fraelich,
Sonic Youth,
The Mummies,
Lalo Schifrin,
Kaleidoscope,
Brothers Johnson,
Motorama,
Lucky Dragons,
The Doors,
Erasure,
Lungfish,
Rufus Thomas,
Sandy B,
Curtis Mayfield,
Cheater Slicks,
The Vogues,
Gong,
Fela Kuti,
Soul II Soul,
Scientists,
Clear Light,
Gang of Four,
Lebanon Hanover,
Maleditus Sound,
Nik Kershaw,
Throbbing Gristle,
Lee Hazlewood,
Todd Terry,
Donny Hathaway,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.