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 Brazil and from Stockholm.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Paris and Shanghai.
I'm losing my edge to the art-school Philadelphia 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 harpsichord 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 Soft Cell to the funk kids.
I played it at the 40 Watt.
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 Victims. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every Los Fastidios record on German import.
I heard that you have a white label of every seminal grunge 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 clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick 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?
Sonic Youth,
The Blackbyrds,
Simply Red,
Soul Sonic Force,
Mary Jane Girls,
Alphaville,
The Durutti Column,
Crash Course in Science,
The Victims,
Vainqueur,
Röyhkä ja Rättö ja Lehtisalo,
Eden Ahbez,
The Five Americans,
Richard Hell and the Voidoids,
Gregory Isaacs,
Gang of Four,
Fad Gadget,
Jesper Dahlbäck,
Niagra,
The Index,
the Fania All-Stars,
Dr. Dre and Snoop Doggy Dog,
These Immortal Souls,
Spoonie Gee,
Art Ensemble Of Chicago,
Delta 5,
Los Fastidios,
Gian Franco Pienzio,
James White and The Blacks,
Wolf Eyes,
Unrelated Segments,
Vladislav Delay,
In Retrospect,
Dorothy Ashby,
Anakelly,
Matthew Bourne,
Stereo Dub,
Bootsy Collins,
Schoolly D,
Al Stewart,
Parry Music,
Trumans Water,
Roger Hodgson,
Crooked Eye,
Country Joe & The Fish,
John Holt,
Tomorrow,
Con Funk Shun,
Maleditus Sound,
Beasts of Bourbon,
Boz Scaggs,
Hashim,
Section 25,
Quadrant,
Sam Rivers,
One Last Wish,
Surgeon,
The Alarm Clocks,
The Doobie Brothers,
Patti Smith,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.