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 Palau and from Hong Kong.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Beijing and Johannesburg.
I'm losing my edge to the art-school Salvador 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 Zapp practice in a loft in Hamilton.
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 Jesper Dahlbäck to the dance 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 London Community Gospel Choir. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Yazoo record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronan,
Byron Stingily,
Oneida,
Siouxsie and the Banshees,
Bobby Hutcherson,
Masters at Work,
Ossler,
The Count Five,
David McCallum,
Rakim,
Jacques Brel,
Lebanon Hanover,
Gary Puckett & The Union Gap,
Minny Pops,
Eve St. Jones,
Blancmange,
Kings Of Tomorrow,
Kango’s Stein Massive,
Procol Harum,
Alison Limerick,
Minutemen,
The Fall,
The Flesh Eaters,
Thee Headcoats,
Absolute Body Control,
Lucky Dragons,
ABC,
Don Cherry,
Neil Young & Crazy Horse,
Josef K,
Icehouse,
Andrew Ashong & Theo Parrish,
Brand Nubian,
The Skatalites,
The Music Machine,
Bizarre Inc.,
Warsaw,
Lou Reed,
Fad Gadget,
OOIOO,
Chrome,
Goldenarms,
Robert Hood,
Grauzone,
Nico,
Robert Wyatt,
Rites of Spring,
The Standells,
Rotary Connection,
Kas Product,
Section 25,
Echo & the Bunnymen,
Notorious BIG live in Amsterdam,
Pussy Galore,
Aswad,
Sad Lovers and Giants,
The Knickerbockers,
Tres Demented,
Fifty Foot Hose,
Derrick Morgan,
Vladislav Delay, Vladislav Delay, Vladislav Delay, Vladislav Delay.
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.