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 Turkey and from Johannesburg.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Copenhagen.
I'm losing my edge to the art-school Winnipeg 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 organ 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 Matthew Halsall to the grime 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 Schoolly D. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every Siouxsie and the Banshees 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 '80s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
Electric Prunes,
Minny Pops,
Graham Central Station,
FM Einheit,
Y Pants,
The Searchers,
Ituana,
T.S.O.L.,
Flamin' Groovies,
The Remains,
Parry Music,
Black Sheep,
Pylon,
the Swans,
Bobby Womack,
Television Personalities,
The Move,
Fifty Foot Hose,
Infiniti,
Visage,
The Blackbyrds,
Brand Nubian,
The Wake,
Tropical Tobacco,
MC5,
Schoolly D,
Dual Sessions,
Minutemen,
Main Source,
Massinfluence,
The Flesh Eaters,
Qualms,
Babytalk,
Andrew Hill,
The Moody Blues,
Funky Four + One,
Scientists,
The United States of America,
Morten Harket,
David Axelrod,
Vladislav Delay,
John Lydon,
Half Japanese,
Duran Duran,
Siouxsie and the Banshees,
Audionom,
Robert Görl,
Yusef Lateef,
Slick Rick,
Mr. Review,
Maleditus Sound,
Sad Lovers and Giants,
Sly & The Family Stone,
Jeff Mills,
Lee Hazlewood,
It's A Beautiful Day,
Electric Light Orchestra,
London Community Gospel Choir,
Brass Construction,
John Coltrane,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.