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 Marshall Islands and from Seoul.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Columbus 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 James Chance & The Contortions to the crunk kids.
I played it at Trash.
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 Nirvana. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Kauko Röyhkä ja Narttu 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
Masters at Work,
Marvin Gaye,
the Association,
Buzzcocks,
Quantec,
The Techniques,
Ken Boothe,
Country Teasers,
Circle Jerks,
Colin Newman,
Robert Görl,
Drexciya,
Bad Manners,
Tomorrow,
Charles Mingus,
Sun City Girls,
Grauzone,
Eric B and Rakim,
The Angels of Light,
David McCallum,
Blossom Toes,
Juan Atkins,
Animal Collective,
Sarah Menescal,
Dual Sessions,
Crime,
The Sisters of Mercy,
Desert Stars,
The Cramps,
Jeru the Damaja,
Pantaleimon,
Icehouse,
Sonic Youth,
Scion,
Moby Grape,
Bush Tetras,
Deepchord,
Delon & Dalcan,
Stiv Bators,
Pole,
Half Japanese,
Bob Dylan,
X-Ray Spex,
F. McDonald,
Bobby Hutcherson,
Throbbing Gristle,
The Names,
Soul II Soul,
Kenny Larkin,
Donald Byrd,
Be Bop Deluxe,
The Tremeloes,
Deadbeat,
Angels of Light & Akron/Family,
Gang Gang Dance,
Bauhaus,
Richard Hell and the Voidoids,
Arab on Radar,
Dave Gahan, Dave Gahan, Dave Gahan, Dave Gahan.
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.