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 Korea North and from Lagos.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1978.
I'm losing my edge.
To all the kids in Manila and Sao Paulo.
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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Bob Dylan to the techno 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 Red Lorry Yellow Lorry. All the underground hits.
All Terror Squad Feat. Camron tracks. I heard you have a vinyl of every The Invisible 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Real Kids,
Eli Mardock,
The Toasters,
Cabaret Voltaire,
The Cure,
Section 25,
Crispy Ambulance,
Gang Green,
Harpers Bizarre,
Alison Limerick,
The Index,
Gang Starr,
Eric Copeland,
Heavy D & The Boyz,
ABBA,
Tubeway Army,
Dual Sessions,
Lalo Schifrin,
Fad Gadget,
Bush Tetras,
Das Ding,
Interpol,
Black Flag,
Jawbox,
Blossom Toes,
Metal Thangz,
Sarah Menescal,
Manfred Mann's Earth Band,
Avey Tare's Slasher Flicks,
Josef K,
Clear Light,
Gastr Del Sol,
The Martian,
The Fortunes,
Fela Kuti,
The Invisible,
Nick Fraelich,
Danielle Patucci,
Heaven 17,
Lungfish,
Reagan Youth,
Maurizio,
David Bowie,
Kevin Saunderson,
Hashim,
Basic Channel,
Severed Heads,
the Fania All-Stars,
Bob Dylan,
Second Layer,
Marine Girls,
Marvin Gaye,
Tomorrow,
Patti Smith,
Jandek,
The Mummies,
Piero Umiliani,
Bronski Beat,
Joensuu 1685,
Ponytail, Ponytail, Ponytail, Ponytail.
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.