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 Ukraine and from New York.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Lagos and London.
I'm losing my edge to the art-school Seoul 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 mellotron 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 Bad Manners to the techno kids.
I played it at the Hacienda.
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 The Saints. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
Desert Stars,
KRS-One,
Fad Gadget,
Rotary Connection,
Country Teasers,
Mars,
The Motions,
Marc Romboy vs. Booka Shade,
Janne Schatter,
The Zeros,
Arcadia,
Big Daddy Kane,
Bill Near,
Lyres,
Masters at Work,
Judy Mowatt,
Curtis Mayfield,
Bill Wells,
Organ,
Mandrill,
Severed Heads,
Lower 48,
Magazine,
Whodini,
Graham Central Station,
Eli Mardock,
Deepchord,
China Crisis,
New Order,
Mission of Burma,
Hashim,
Ultravox,
OOIOO,
Zapp,
Minnie Riperton,
Urselle,
Justin Hinds & The Dominoes,
Black Flag,
A Flock of Seagulls,
Sex Pistols,
Drive Like Jehu,
8 Eyed Spy,
Todd Terry,
Trumans Water,
Altered Images,
Andrew Hill,
K-Klass,
Amon Düül II,
Piero Umiliani,
One Last Wish,
Cybotron,
Kayak,
Flipper,
Todd Rundgren,
Clear Light,
Fatback Band,
Arab on Radar,
Visionaries,LMNO, T- Love & Iriscience,
Flash Fearless,
Frankie Knuckles,
Interpol,
The Cramps, The Cramps, The Cramps, The Cramps.
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.