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 Colombia and from Madrid.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Beijing and Manchester.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer 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 The Dirtbombs to the punk kids.
I played it at the Troubador.
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 Lee Hazlewood. All the underground hits.
All PIL tracks. I heard you have a vinyl of every The Electric Prunes record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
Echo & the Bunnymen,
The Mummies,
Cabaret Voltaire,
Interpol,
Eden Ahbez,
Saccharine Trust,
The Modern Lovers,
Quantec,
John Foxx,
AZ,
The Slits,
Richard Hell and the Voidoids,
Drive Like Jehu,
The Remains,
The Associates,
The Motions,
Zapp,
Johnny Osbourne,
John Lydon,
Electric Light Orchestra,
Chris & Cosey,
Idris Muhammad,
Siglo XX,
Joe Finger,
Ultramagnetic MC's,
Q and Not U,
Angels of Light & Akron/Family,
Deutsch Amerikanische Freundschaft,
Basic Channel,
Das Ding,
Hasil Adkins,
X-101,
Nik Kershaw,
Nico,
Art Ensemble Of Chicago,
The Divine Comedy,
China Crisis,
Technova,
Gichy Dan,
Fluxion,
Scratch Acid,
Hoover,
Black Bananas,
Avey Tare,
Dennis Brown,
Talk Talk,
Alice Coltrane,
Silicon Teens,
Los Fastidios,
The Black Dice,
The Mojo Men,
Captain Beefheart & His Magic Band,
Gil Scott-Heron & Brian Jackson,
Tropical Tobacco,
Rahsaan Roland Kirk,
Kaleidoscope,
The Shadows of Knight,
The Music Machine,
Rhythm & Sound,
The Chocolate Watch Band,
Anakelly,
Flipper,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.