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 Austria and from Shanghai.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Bologna and Seoul.
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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the mellotron sounds with much patience.
I was there when David Bowie 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 Toasters to the punk kids.
I played it at CBGB's.
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 ABC. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Erasure 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 '80s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
The Human League,
Nas,
Audionom,
Crash Course in Science,
Basic Channel,
Matthew Bourne,
Alton Ellis,
Ajijia Myrayebe,
Anthony Braxton,
Tommy Roe,
Radiohead,
Hoover,
Joyce Sims,
Desert Stars,
Swell Maps,
Frankie Knuckles,
Pole,
Theoretical Girls,
Bush Tetras,
The Five Americans,
Lower 48,
Chrome,
Tears for Fears,
Sonny Sharrock,
The Real Kids,
Donald Byrd,
Q and Not U,
Donny Hathaway,
Bang on a Can All-Stars,
Duran Duran,
Inner City,
Art Ensemble Of Chicago,
the Fania All-Stars,
Liliput,
a-ha,
Eddi Front,
The Standells,
Ornette Coleman,
Gil Scott-Heron & Brian Jackson,
L. Decosne,
The Detroit Cobras,
Jerry's Kids,
X-Ray Spex,
Country Joe & The Fish,
Idris Muhammad,
Scrapy,
Soul II Soul,
Girls At Our Best!,
Smog,
Accadde A,
The Litter,
Harpers Bizarre,
Pet Shop Boys,
David Axelrod,
June of 44,
Quando Quango,
Faust,
Lonnie Liston Smith,
Grandmaster Flash and the Furious Five,
Ludus,
Amazonics, Amazonics, Amazonics, Amazonics.
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.