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 Oman and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1977.
I'm losing my edge.
To all the kids in Spokane and Jakarta.
I'm losing my edge to the art-school Houston 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Jacques Brel to the jazz kids.
I played it at the Astoria.
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 Patti Smith. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every CMW record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Malaria! 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?
Heaven 17,
Young Marble Giants,
Jeff Mills,
DNA,
Arcadia,
A Certain Ratio,
The Moody Blues,
AZ,
Royal Trux,
D'Angelo,
Sly & The Family Stone,
Peter Gordon & Love of Life Orchestra,
Second Layer,
Hoover,
Little Man,
Sonny Sharrock,
Hardrive,
KRS-One,
These Immortal Souls,
Qualms,
Loose Ends,
Sun City Girls,
Nation of Ulysses,
John Cale,
Bizarre Inc.,
Steve Hackett,
Jesper Dahlback,
Television Personalities,
Stockholm Monsters,
The West Coast Pop Art Experimental Band,
Panda Bear,
the Soft Cell,
the Slits,
Kerrie Biddell,
Ultravox,
Lou Reed,
The Young Rascals,
Amon Düül II,
New Order,
Skaos,
Ronan,
Pete Rock & C.L. Smooth,
Aloha Tigers,
Aswad,
Public Image Ltd.,
Aaron Thompson,
Howard Jones,
Cabaret Voltaire,
Sex Pistols,
Gang Starr,
Graham Central Station,
Isaac Hayes,
Patti Smith,
Malaria!,
Chris & Cosey,
Colin Newman,
Jerry Gold Smith,
Morten Harket,
Banda Bassotti,
the Association,
Ultramagnetic MC's,
Sugar Minott,
Harry Pussy,
The Techniques, The Techniques, The Techniques, The Techniques.
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.