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 Bangladesh and from Lagos.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1976.
I'm losing my edge.
To all the kids in Calgary and Mumbai.
I'm losing my edge to the art-school Manchester 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the mellotron 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 Underground Resistance to the grime kids.
I played it at the Astoria.
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 Tears for Fears. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Cybotron record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Marcia Griffiths,
Bronski Beat,
The Music Machine,
Funkadelic,
Camouflage,
The Real Kids,
Deakin,
Kaleidoscope,
Dave Gahan,
Fifty Foot Hose,
Spandau Ballet,
Jeff Mills,
Bobby Hutcherson,
The Smiths,
K-Klass,
Banda Bassotti,
Jacques Brel,
Massinfluence,
A Flock of Seagulls,
John Lydon,
Andrew Hill,
The Sonics,
Gil Scott-Heron and Jamie xx,
Lyres,
Larry & the Blue Notes,
Eyeless In Gaza,
Fort Wilson Riot,
Bobbi Humphrey,
Tears for Fears,
New Order,
Sixth Finger,
In Retrospect,
FM Einheit,
Juan Atkins,
Eric Dolphy,
Wire,
Lou Reed,
Wally Richardson,
Lightning Bolt,
Kool G Rap & DJ Polo,
Porter Ricks,
Black Sheep,
Magma,
Joe Finger,
Girls At Our Best!,
Radiohead,
Susan Cadogan,
Groovy Waters,
Blake Baxter,
The J.B.'s,
EPMD,
Todd Terry,
the Swans,
Gang Starr,
Suburban Knight,
Josef K,
The Doobie Brothers,
Index, Index, Index, Index.
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.