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 Jakarta.
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 1973.
I'm losing my edge.
To all the kids in Shanghai and Seoul.
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 chamberlin 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 Eli Mardock to the grime kids.
I played it at the 40 Watt.
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 Excepter. All the underground hits.
All Average White Band tracks. I heard you have a vinyl of every The Blackbyrds record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Girls At Our Best!,
Chrome,
Index,
Judy Mowatt,
The Associates,
Tubeway Army,
Lizzy Mercier Descloux,
Eden Ahbez,
Juan Atkins,
Roger Hodgson,
Alton Ellis,
The Skatalites,
Black Sheep,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
John Coltrane,
Ossler,
Red Lorry Yellow Lorry,
Lee Hazlewood,
Mr. Review,
Throbbing Gristle,
Little Man,
Nick Cave & The Bad Seeds,
Rekid,
Peter Gordon & Love of Life Orchestra,
Television Personalities,
Joey Negro,
David Axelrod,
Gang of Four,
Deakin,
8 Eyed Spy,
Kool G Rap & DJ Polo,
Peter and Kerry,
The Names,
Mission of Burma,
Amon Düül,
Aloha Tigers,
Urselle,
Can,
Ronnie Foster,
Pete Rock & C.L. Smooth,
Tropical Tobacco,
Teenage Jesus and the Jerks,
Toni Rubio,
Mary Jane Girls,
Deutsch Amerikanische Freundschaft,
Jesper Dahlback,
Minnie Riperton,
China Crisis,
The Index,
Bobby Sherman,
Marcia Griffiths,
Andrew Hill,
Minny Pops,
Ponytail,
Röyhkä ja Rättö ja Lehtisalo,
Neu!,
Hasil Adkins,
Loose Ends,
Visage,
kango's stein massive,
Scan 7,
The Toasters, The Toasters, The Toasters, The Toasters.
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.