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 Papua New Guinea and from Lille.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Mumbai.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald 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 Brothers Johnson to the punk kids.
I played it at the Spitz.
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 Fad Gadget. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every Vladislav Delay 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 harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
The Smoke,
Yaz,
Gang Green,
Inner City,
DeepChord presents Echospace,
Iggy Pop,
Depeche Mode,
Lakeside,
China Crisis,
Niagra,
Severed Heads,
Monolake,
Little Man,
Camberwell Now,
X-Ray Spex,
Ituana,
Pet Shop Boys,
Terrestrial Tones,
The Associates,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Peter and Kerry,
Amazonics,
Sad Lovers and Giants,
Lower 48,
Matthew Bourne,
Bootsy's Rubber Band,
Sun Ra Arkestra,
The Fuzztones,
The Trojans,
Camouflage,
Röyhkä ja Rättö ja Lehtisalo,
Man Parrish,
Echo & the Bunnymen,
Avey Tare,
Popol Vuh,
Pierre Henry,
Average White Band,
The Shadows of Knight,
Johnny Osbourne,
Peter Gordon & Love of Life Orchestra,
Alison Limerick,
Reagan Youth,
Infiniti,
Eli Mardock,
Alphaville,
Ice-T,
Bizarre Inc.,
Mad Mike,
The Wake,
Silicon Teens,
Jeff Mills,
Barry Ungar,
The Techniques,
EPMD,
Quantec,
Shuggie Otis,
The Doors,
Ten City,
Delta 5,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.