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 Ecuador and from Lyon.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Philadelphia.
I'm losing my edge to the art-school Glasgow 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 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 Selector Dub Narcotic to the techno kids.
I played it at Cafe Wha.
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 A Certain Ratio. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Visage,
Los Fastidios,
Zero Boys,
Cameo,
Marcia Griffiths,
Loose Ends,
Roger Hodgson,
the Association,
The Young Rascals,
Aaron Thompson,
Scott Walker + Sunn O))),
The Men They Couldn't Hang,
Popol Vuh,
The Last Poets,
Gil Scott Heron,
Wally Richardson,
The Count Five,
The Cosmic Jokers,
The Blackbyrds,
Ornette Coleman,
The Trojans,
Maleditus Sound,
Harmonia,
Kurtis Blow,
Darondo,
Pharoah Sanders,
The Raincoats,
Tears for Fears,
The Move,
Brothers Johnson,
Glenn Branca,
Supertramp,
Model 500,
David McCallum,
De La Soul & Jungle Brothers,
10cc,
Electric Prunes,
Hoover,
Jacob Miller,
Joy Division,
Sun Ra Arkestra,
Zapp,
DJ Sneak,
Subhumans,
Richard Hell and the Voidoids,
Sunsets and Hearts,
Little Man,
Stereo Dub,
DeepChord presents Echospace,
Nils Olav,
Public Image Ltd.,
Youth Brigade,
Nik Kershaw,
Pantytec,
Gang Starr,
Barbara Tucker,
The Doors,
Reagan Youth,
Quando Quango,
The Fuzztones,
The Mojo Men,
Gong,
Todd Rundgren,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
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.