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 Armenia and from Copenhagen.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1971.
I'm losing my edge.
To all the kids in Calgary and Tehran.
I'm losing my edge to the art-school Manchester 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 808 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 Loose Ends to the dance kids.
I played it at Cafe Wha.
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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Pierre Henry 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Gang of Four,
Teenage Jesus and the Jerks,
Underground Resistance,
Grandmaster Flash,
Davy DMX,
Hasil Adkins,
The Golliwogs,
The Blackbyrds,
Unwound,
Spoonie Gee,
Sonny Sharrock,
The Standells,
Fort Wilson Riot,
10cc,
Bauhaus,
Crash Course in Science,
Jeru the Damaja,
Bizarre Inc.,
8 Eyed Spy,
Warsaw,
Trumans Water,
Q and Not U,
Ronnie Foster,
Pantytec,
Glambeats Corp.,
Visage,
Unrelated Segments,
Orchestral Manoeuvres in the Dark,
Cameo,
The Grass Roots,
Thinking Fellers Union Local 282,
Newcleus,
Grandmaster Flash and the Furious Five,
The Smiths,
Harry Pussy,
The Happenings,
New Order,
Gang Green,
Ten City,
Fad Gadget,
The Sonics,
Essential Logic,
Deepchord,
Pharaoh Sanders and the Fire Engines,
Rahsaan Roland Kirk,
Colin Newman,
Be Bop Deluxe,
The Zeros,
L. Decosne,
Marine Girls,
Mars,
Cecil Taylor,
Danielle Patucci,
The Stooges,
This Heat,
Eric B and Rakim,
PIL,
Jeff Lynne,
Reuben Wilson,
The Offenders,
Maurizio,
Chris & Cosey, Chris & Cosey, Chris & Cosey, Chris & Cosey.
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.