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 Benin and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Taipei and Accra.
I'm losing my edge to the art-school Paris 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Jesper Dahlbäck to the disco kids.
I played it at the Astoria.
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 Rakim. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Circle Jerks 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 '80s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
Matthew Bourne,
Lucky Dragons,
cv313,
Ultimate Spinach,
Terry Callier,
Niagra,
The Fortunes,
Marvin Gaye,
The Last Poets,
the Slits,
The Names,
the Fania All-Stars,
The Misunderstood,
The Barracudas,
Aaron Thompson,
Oppenheimer Analysis,
Art Ensemble Of Chicago,
the Human League,
Kool Moe Dee,
Bobby Sherman,
Bobby Womack,
Gichy Dan,
The Associates,
Sex Pistols,
a-ha,
Mary Jane Girls,
Minnie Riperton,
Scratch Acid,
Kenny Larkin,
The United States of America,
Maleditus Sound,
Dorothy Ashby,
Buzzcocks,
Easy Going,
Spoonie Gee,
Blancmange,
Audionom,
PIL,
Sparks,
MDC,
Whodini,
Supertramp,
Ponytail,
The Toasters,
Bang On A Can,
Selector Dub Narcotic,
Theoretical Girls,
Pagans,
the Germs,
Suburban Knight,
Amazonics,
Gang of Four,
Hashim,
Echospace,
Brass Construction,
Altered Images,
The Buckinghams,
Echo & the Bunnymen,
Clear Light, Clear Light, Clear Light, Clear Light.
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.