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 Liechtenstein and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Tehran and Stockholm.
I'm losing my edge to the art-school Taipei 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the snare sounds with much patience.
I was there when Donald Fagen 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 The Durutti Column to the punk kids.
I played it at the Roxy.
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 Tropical Tobacco. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every The Fire Engines 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
The Alarm Clocks,
Junior Murvin,
The Young Rascals,
Scratch Acid,
Crooked Eye,
Spandau Ballet,
Barrington Levy,
Amon Düül,
KRS-One,
The Pretty Things,
Terry Callier,
Avey Tare,
Ultravox,
Thompson Twins,
Gian Franco Pienzio,
Al Stewart,
FM Einheit,
E-Dancer,
The Grass Roots,
Rod Modell,
Darondo,
The Buckinghams,
Curtis Mayfield,
Visionaries,LMNO, T- Love & Iriscience,
Tommy Roe,
Crime,
Essential Logic,
Silicon Teens,
U.S. Maple,
Harpers Bizarre,
The Smiths,
The Angels of Light,
The Tremeloes,
Depeche Mode,
Country Joe & The Fish,
Animal Collective,
The Count Five,
Oneida,
X-102,
Donny Hathaway,
Art Ensemble Of Chicago,
Judy Mowatt,
Avey Tare's Slasher Flicks,
Vaughan Mason & Crew,
the Fania All-Stars,
Cymande,
Heaven 17,
Dave Gahan,
Gil Scott-Heron and Jamie xx,
Joensuu 1685,
Organ,
Groovy Waters,
Eve St. Jones,
Suicide,
June Days,
Index,
a-ha,
Absolute Body Control,
The Mojo Men,
The Index, The Index, The Index, The Index.
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.