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 Andorra and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Milan.
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 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 David Bowie 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 Tomorrow to the crunk kids.
I played it at the Hacienda.
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 Derrick Morgan. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Bang On A Can 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roger Hodgson,
Unrelated Segments,
Boredoms,
The Alarm Clocks,
Avey Tare & Kría Brekkan,
Ultravox,
David McCallum,
Glambeats Corp.,
Drexciya,
Orchestral Manoeuvres in the Dark,
The United States of America,
Rahsaan Roland Kirk,
The Kinks,
Mantronix,
the Soft Cell,
The Mighty Diamonds,
Wighnomy Brothers & Robag Wruhme,
Tim Buckley,
OOIOO,
The Real Kids,
Loose Ends,
Blossom Toes,
Aloha Tigers,
The Stooges,
Minnie Riperton,
Nico,
The Fugs,
D'Angelo,
Stetsasonic,
Matthew Bourne,
The Flesh Eaters,
Glenn Branca,
The Toasters,
Teenage Jesus and the Jerks,
Fad Gadget,
Jacob Miller,
Hoover,
The Cure,
Barclay James Harvest,
Ralphi Rosario,
The Skatalites,
Monolake,
Ohio Players,
Mars,
Intrusion,
Von Mondo,
Don Cherry,
Vaughan Mason & Crew,
Ajijia Myrayebe,
Aswad,
Laurel Aitken,
Robert Hood,
Bronski Beat,
Marine Girls,
Gang Gang Dance,
Echospace,
Ultramagnetic MC's,
Scientists,
Hot Snakes,
Bizarre Inc.,
The Tremeloes,
Ronnie Foster,
Cymande, Cymande, Cymande, Cymande.
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.