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 Gabon and from Lagos.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Delhi.
I'm losing my edge to the art-school Columbus 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe 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 Justin Hinds & The Dominoes to the electroclash kids.
I played it at the Crocodile.
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 Louis and Bebe Barron. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Nils Olav record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
China Crisis,
Absolute Body Control,
Stetsasonic,
Brand Nubian,
Saccharine Trust,
Spandau Ballet,
Liliput,
Man Eating Sloth,
Tropical Tobacco,
Red Lorry Yellow Lorry,
Youth Brigade,
Bobby Sherman,
Sugar Minott,
The Dirtbombs,
Desert Stars,
Fat Boys,
The Fugs,
Zero Boys,
the Soft Cell,
Subhumans,
Rufus Thomas,
Newcleus,
Theoretical Girls,
Tubeway Army,
Leonard Cohen,
Scan 7,
Zapp,
Stockholm Monsters,
Jeff Lynne,
Fluxion,
X-102,
Soulsonic Force,
The Toasters,
U.S. Maple,
Gerry Rafferty,
The Wake,
Bob Dylan,
Interpol,
Cameo,
Freddie Wadling,
The Detroit Cobras,
David Axelrod,
Marmalade,
Robert Hood,
Mo-Dettes,
Crispian St. Peters,
R.M.O.,
Alison Limerick,
The Fortunes,
the Slits,
Sun Ra,
Don Cherry,
Malaria!,
Pussy Galore,
Arab on Radar,
World's Most,
Heaven 17,
E-Dancer,
Teenage Jesus and the Jerks,
Radiopuhelimet,
Gil Scott-Heron & Brian Jackson,
Visionaries,LMNO, T- Love & Iriscience,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.