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 Tanzania and from Tehran.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1968 to 1976.
I'm losing my edge.
To all the kids in Lyon and Tehran.
I'm losing my edge to the art-school Copenhagen 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 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 Blancmange to the crunk 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 Delon & Dalcan. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every New Order 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 '70s cut and another box set from the '70s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
James White and The Blacks,
Matthew Bourne,
Dead Boys,
Jacques Brel,
The Monks,
Ten City,
Organ,
The Birthday Party,
Soul II Soul,
Sister Nancy,
Rekid,
Ornette Coleman,
The Smoke,
The Knickerbockers,
The Chocolate Watch Band,
Lafayette Afro Rock Band,
Brick,
The Smiths,
Scan 7,
Charles Mingus,
Rufus Thomas,
The Names,
Gregory Isaacs,
The Velvet Underground,
ABBA,
The Fugs,
Be Bop Deluxe,
Tres Demented,
Black Moon,
Bootsy Collins,
Aswad,
Camberwell Now,
Dave Gahan,
The Slackers,
Livin' Joy,
Avey Tare's Slasher Flicks,
Subhumans,
Bill Near,
The Divine Comedy,
Can,
Jerry Gold Smith,
F. McDonald,
Kevin Saunderson,
Jesper Dahlback,
Arab on Radar,
Fad Gadget,
Moss Icon,
Warren Ellis,
Delta 5,
Derrick Morgan,
The Victims,
The Sisters of Mercy,
Lou Reed,
Dorothy Ashby,
Mo-Dettes,
Kerrie Biddell,
The Associates,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.