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 Malta and from Lagos.
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 1970.
I'm losing my edge.
To all the kids in Bremen and Woodstock.
I'm losing my edge to the art-school Tehran 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 at the first Suicide practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Liliput to the disco 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 Hoover. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks record on German import.
I heard that you have a white label of every seminal grime 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 an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
Cameo,
The Misunderstood,
Lucky Dragons,
Aaron Thompson,
Sandy B,
Wings,
The Alarm Clocks,
Rowland S Howard / Lydia Lunch,
Sly & The Family Stone,
Essential Logic,
Sun City Girls,
B.T. Express,
The Leaves,
Eli Mardock,
James Chance & The Contortions,
Mr. Review,
Reuben Wilson,
F. McDonald,
Television,
The Slackers,
Notorious Big And Bone Thugs,
Brand Nubian,
Hashim,
Andrew Ashong & Theo Parrish,
Idris Muhammad,
Boredoms,
Blancmange,
Scrapy,
ABBA,
Anakelly,
Fugazi,
The Mighty Diamonds,
Rod Modell,
Nation of Ulysses,
Unrelated Segments,
Alphaville,
Masters at Work,
Jerry Gold Smith,
Crooked Eye,
Ludus,
The United States of America,
The Cure,
Sound Behaviour,
Donald Byrd,
Ten City,
Marcia Griffiths,
Qualms,
the Human League,
Manfred Mann's Earth Band,
La Düsseldorf,
Jesper Dahlbäck,
Richard Hell and the Voidoids,
John Foxx,
Dorothy Ashby,
Slave,
Susan Cadogan,
Japan,
The Martian,
Barbara Tucker,
The Knickerbockers,
Smog, Smog, Smog, Smog.
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.