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 South Africa and from Jakarta.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Lille.
I'm losing my edge to the art-school Portland 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 E-Dancer to the funk kids.
I played it at the Troubador.
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 Blake Baxter. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every The Shadows of Knight 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 '80s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Malaria! record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
The Beau Brummels,
Alison Limerick,
Rhythm & Sound,
Underground Resistance,
Ajijia Myrayebe,
Derrick Morgan,
Yellowson,
U.S. Maple,
Barry Ungar,
Scott Walker + Sunn O))),
Howard Jones,
The Raincoats,
Kool Moe Dee,
Depeche Mode,
10cc,
Monolake,
Porter Ricks,
Jandek,
Royal Trux,
Kas Product,
Donny Hathaway,
Quadrant,
Marine Girls,
E-Dancer,
Tim Buckley,
Los Fastidios,
Selector Dub Narcotic,
Roy Ayers,
Skaos,
Joe Smooth,
Jesper Dahlbäck,
Prince Buster,
Dave Gahan,
The Doobie Brothers,
Major Organ And The Adding Machine,
The Offenders,
Gastr Del Sol,
Tears for Fears,
Marc Almond,
Aloha Tigers,
Brand Nubian,
Guru Guru,
Amon Düül II,
Model 500,
Talk Talk,
Lebanon Hanover,
Eddi Front,
Lyres,
Gichy Dan,
Bobby Byrd,
Eve St. Jones,
Y Pants,
Cybotron,
Bill Near,
Fugazi,
Louis and Bebe Barron,
Can,
Main Source,
Eyeless In Gaza,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.