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 Malawi and from Taipei.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Spokane.
I'm losing my edge to the art-school Stockholm 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 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 The Cure to the techno kids.
I played it at the Roxy.
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 Pere Ubu. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every the Slits record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Can record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
Ludus,
Sister Nancy,
The Chocolate Watch Band,
Cal Tjader,
Buzzcocks,
Camberwell Now,
Scientists,
the Soft Cell,
Fat Boys,
The Music Machine,
Robert Görl,
The Divine Comedy,
Visionaries,LMNO, T- Love & Iriscience,
Nation of Ulysses,
The Names,
Davy DMX,
Matthew Halsall,
Franke,
Panda Bear,
Kayak,
Morten Harket,
Amon Düül,
The Moody Blues,
Audionom,
Delta 5,
Eric B and Rakim,
The Shadows of Knight,
Sly & The Family Stone,
Rhythm & Sound,
The Moleskins,
T.S.O.L.,
Lower 48,
Technova,
Black Flag,
Gil Scott Heron,
Soft Machine,
Country Joe & The Fish,
The Dead C,
Justin Hinds & The Dominoes,
Nirvana,
Kurtis Blow,
Black Sheep,
The Beau Brummels,
Popol Vuh,
Chris Corsano,
The Monks,
The Velvet Underground,
Louis and Bebe Barron,
Lizzy Mercier Descloux,
Lindisfarne,
Spandau Ballet,
The Motions,
Art Ensemble Of Chicago,
Loose Ends,
Porter Ricks,
Ultravox,
The Grass Roots,
Sparks,
Parry Music,
The Remains,
In Retrospect,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.