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 Iraq and from Bologna.
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 1975.
I'm losing my edge.
To all the kids in Mexico City and Glasgow.
I'm losing my edge to the art-school Lagos 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 Depeche Mode to the grime kids.
I played it at Cafe Wha.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every Arcadia record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Stockholm Monsters,
Kayak,
The Monochrome Set,
Tubeway Army,
H. Thieme,
Nik Kershaw,
The Last Poets,
Underground Resistance,
David McCallum,
the Association,
Deakin,
David Bowie,
Ralphi Rosario,
Buzzcocks,
Youth Brigade,
Fear,
The Alarm Clocks,
Marine Girls,
Cal Tjader,
T. Rex,
Robert Görl,
a-ha,
Leonard Cohen,
The Happenings,
Charles Mingus,
Scion,
X-Ray Spex,
June Days,
The Fugs,
Radiohead,
Skarface,
Mark Hollis,
Tom Boy,
Model 500,
Juan Atkins,
Drexciya,
Connie Case,
Toni Rubio,
Crispy Ambulance,
Bootsy Collins,
Derrick Morgan,
Danielle Patucci,
Technova,
Ossler,
Barclay James Harvest,
Piero Umiliani,
U.S. Maple,
Sound Behaviour,
Tim Buckley,
Rekid,
The Doors,
Lonnie Liston Smith,
A Certain Ratio,
Scientists,
Bill Wells,
The Tremeloes,
Echospace,
The Selecter,
The Sound,
The Litter,
Zapp,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.