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 Manchester.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Edmonton.
I'm losing my edge to the art-school Johannesburg 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Stockholm Monsters to the electroclash 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 Gang Gang Dance. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Ronnie Foster record on German import.
I heard that you have a white label of every seminal electroclash 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 theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marvin Gaye,
Sandy B,
The Five Americans,
the Normal,
The Vogues,
Sad Lovers and Giants,
De La Soul & Jungle Brothers,
Suburban Knight,
The Zeros,
Frankie Knuckles,
Smog,
The Music Machine,
The Jesus and Mary Chain,
The Slackers,
The Move,
Ludus,
Monks,
Skarface,
Spandau Ballet,
The Blackbyrds,
The Victims,
Boredoms,
Skaos,
MC5,
The Mojo Men,
Mr. Review,
MDC,
Porter Ricks,
Eddi Front,
Procol Harum,
Section 25,
China Crisis,
Drexciya,
Ultimate Spinach,
Minor Threat,
The Human League,
Fear,
Sugar Minott,
Guru Guru,
The Raincoats,
Graham Central Station,
Schoolly D,
Stiv Bators,
Arab on Radar,
Absolute Body Control,
Kerrie Biddell,
Kas Product,
Don Cherry,
The Cosmic Jokers,
The Names,
Qualms,
Wolf Eyes,
Ken Boothe,
Audionom,
X-Ray Spex,
The Black Dice,
LL Cool J,
The Mummies,
Scion,
Moebius,
Radiohead, Radiohead, Radiohead, Radiohead.
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.