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 Argentina and from Lyon.
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 1973.
I'm losing my edge.
To all the kids in Cairo and Lyon.
I'm losing my edge to the art-school Tokyo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Andrew Hill to the electroclash kids.
I played it at CBGB's.
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 Das Ding. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every R.M.O. record on German import.
I heard that you have a white label of every seminal jazz 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 rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Cure record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin 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?
MC5,
Scan 7,
John Foxx,
Fluxion,
Ajijia Myrayebe,
Gang of Four,
Ten City,
The Knickerbockers,
Radiopuhelimet,
Maleditus Sound,
Big Daddy Kane,
Warsaw,
Grandmaster Flash,
New Order,
Faraquet,
Soft Machine,
Suburban Knight,
Blossom Toes,
Kerri Chandler,
Marc Almond,
The Detroit Cobras,
Niagra,
Kenny Larkin,
Blake Baxter,
Bobby Womack,
The Seeds,
Can,
Freddie Wadling,
Public Enemy,
China Crisis,
Rakim,
Erykah Badu,
The Selecter,
Ultravox,
The Gladiators,
Minnie Riperton,
Maurizio,
June Days,
Chris & Cosey,
A Certain Ratio,
the Soft Cell,
The Leaves,
Cabaret Voltaire,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Crime,
T. Rex,
Outsiders,
Half Japanese,
Pagans,
De La Soul & Jungle Brothers,
Television,
Junior Murvin,
Pole,
Mission of Burma,
The Trojans,
Depeche Mode,
The Gories,
Deepchord,
World's Most,
The Star Department,
Fear,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.