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 Israel and from Taipei.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Halifax and Lyon.
I'm losing my edge to the art-school New York 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Soul II Soul to the punk 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 Camberwell Now. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Delta 5 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Quadrant record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
Joe Finger,
L. Decosne,
Scrapy,
Kings Of Tomorrow,
Pussy Galore,
World's Most,
Talk Talk,
Erasure,
Can,
Echo & the Bunnymen,
KRS-One,
Jesper Dahlback,
Nils Olav,
Crispy Ambulance,
Ossler,
Duran Duran,
Drexciya,
Notorious BIG live in Amsterdam,
The Dead C,
Howard Jones,
Franke,
Icehouse,
Siouxsie and the Banshees,
Cameo,
Ten City,
Heavy D & The Boyz,
Kevin Saunderson,
Nation of Ulysses,
Monolake,
Pagans,
Crime,
Public Enemy,
48th St. Collective,
Severed Heads,
Oppenheimer Analysis,
Tropical Tobacco,
The Monks,
JFA,
Unwound,
Fugazi,
Negative Approach,
MDC,
Royal Trux,
Peter and Kerry,
Ronnie Foster,
FM Einheit,
Pylon,
Aswad,
Minor Threat,
Alphaville,
Rotary Connection,
Agitation Free,
Johnny Osbourne,
Depeche Mode,
Eddi Front,
Lou Reed,
June Days,
the Germs,
Rekid,
Angels of Light & Akron/Family,
Toni Rubio,
the Normal, the Normal, the Normal, the Normal.
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.