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 Micronesia and from Milan.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Accra and Cairo.
I'm losing my edge to the art-school Toronto 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Minny Pops to the electroclash kids.
I played it at the Spitz.
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 The Human League. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every The Move 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joy Division,
Whodini,
The Evens,
Major Organ And The Adding Machine,
Reagan Youth,
Selector Dub Narcotic,
Quadrant,
Rowland S Howard / Lydia Lunch,
Scion,
Procol Harum,
Bauhaus,
Todd Rundgren,
Minor Threat,
The Toasters,
Throbbing Gristle,
Sun Ra,
the Human League,
Black Pus,
Peter and Kerry,
The Chocolate Watch Band,
Colin Newman,
The Durutti Column,
Con Funk Shun,
Marmalade,
The Smiths,
Schoolly D,
Cecil Taylor,
Yellowson,
Black Flag,
Moss Icon,
London Community Gospel Choir,
Charles Mingus,
Roy Ayers,
Althea and Donna,
Barbara Tucker,
Neil Young & Crazy Horse,
Boogie Down Productions,
Gil Scott-Heron & Brian Jackson,
Deakin,
Spoonie Gee,
Jeff Mills,
Ronnie Foster,
Kurtis Blow,
Section 25,
Youth Brigade,
Dennis Brown,
K-Klass,
Reuben Wilson,
The Misunderstood,
Neil Young,
Patti Smith,
Oppenheimer Analysis,
The Sonics,
Alison Limerick,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Deepchord,
Q and Not U,
Audionom,
Silicon Teens,
Tres Demented,
The Motions,
A Certain Ratio,
The Cramps,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.