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 Saudi Arabia and from Mumbai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Woodstock.
I'm losing my edge to the art-school Manila 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Kevin Saunderson to the crunk 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 Kas Product. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal disco 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 snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a New Order record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
James White and The Blacks,
The Misunderstood,
Pete Rock & C.L. Smooth,
Swell Maps,
John Holt,
Outsiders,
The Beau Brummels,
The Neon Judgement,
Liaisons Dangereuses,
Pantytec,
Ossler,
Porter Ricks,
The Toasters,
Laurel Aitken,
Procol Harum,
The Fire Engines,
Radio Birdman,
Justin Hinds & The Dominoes,
Roger Hodgson,
The Mighty Diamonds,
Lindisfarne,
The Busters,
Skriet,
Fear,
10cc,
Kevin Saunderson,
Popol Vuh,
Index,
Mars,
Groovy Waters,
The Dirtbombs,
The Leaves,
L. Decosne,
Gang Gang Dance,
Negative Approach,
Vladislav Delay,
Dennis Brown,
Minnie Riperton,
Kool Moe Dee,
June Days,
Red Lorry Yellow Lorry,
Quantec,
Richard Hell and the Voidoids,
Dave Gahan,
The Cowsills,
UT,
The Shadows of Knight,
Nas,
Piero Umiliani,
Sly & The Family Stone,
Circle Jerks,
Severed Heads,
Essential Logic,
Ultra Naté,
Blancmange,
Deutsch Amerikanische Freundschaft,
Bush Tetras,
Black Flag,
The Divine Comedy,
Godley & Creme,
Steve Hackett,
Slave, Slave, Slave, Slave.
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.