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 Iran and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Manchester and Stockholm.
I'm losing my edge to the art-school London 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 synthesizer 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 Saccharine Trust to the crunk kids.
I played it at the Crocodile.
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 Toni Rubio. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Tubeway Army record on German import.
I heard that you have a white label of every seminal jazz 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 rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Crispy Ambulance record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
The Star Department,
Japan,
Neu!,
Patti Smith,
Deakin,
The Fall,
Dual Sessions,
Nick Fraelich,
Gil Scott Heron,
The Real Kids,
Yellowson,
Art Ensemble Of Chicago,
Soft Cell,
The United States of America,
Richard Hell and the Voidoids,
Kenny Larkin,
Liliput,
Sexual Harrassment,
Mandrill,
The Durutti Column,
Notorious Big And Bone Thugs,
Rapeman,
Youth Brigade,
Ossler,
The Grass Roots,
The Black Dice,
Erasure,
The J.B.'s,
Brand Nubian,
Sun City Girls,
Quadrant,
Gil Scott-Heron & Brian Jackson,
New Order,
Desert Stars,
Oblivians,
UT,
Albert Ayler,
Lucky Dragons,
Altered Images,
The Smiths,
D'Angelo,
Maleditus Sound,
Sunsets and Hearts,
Kas Product,
Mission of Burma,
The Divine Comedy,
Maurizio,
Wolf Eyes,
Nils Olav,
Danielle Patucci,
John Cale,
Jacques Brel,
X-101,
Arcadia,
Surgeon,
Ralphi Rosario,
Erykah Badu,
Zero Boys,
Mr. Review,
Symarip,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.