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 Montenegro and from Philadelphia.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Manila and Bologna.
I'm losing my edge to the art-school Glasgow 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 spring reverb 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 Drexciya to the electroclash 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 Sandy B. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Whodini record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Lou Reed,
Frankie Knuckles,
Mary Jane Girls,
Public Enemy,
Gang Gang Dance,
Reagan Youth,
Niagra,
AZ,
Make Up,
Siouxsie and the Banshees,
Idris Muhammad,
Q65,
The Last Poets,
Porter Ricks,
the Germs,
Youth Brigade,
These Immortal Souls,
Eric Dolphy,
The Sound,
Bauhaus,
The Young Rascals,
Notorious BIG live in Amsterdam,
Ronnie Foster,
the Human League,
Oblivians,
Schoolly D,
Crispy Ambulance,
Crispian St. Peters,
Echospace,
Scientists,
Fat Boys,
Arcadia,
Amon Düül,
The Gories,
Altered Images,
Siglo XX,
Malaria!,
Harpers Bizarre,
Ken Boothe,
Angels of Light & Akron/Family,
Marvin Gaye,
John Foxx,
Barrington Levy,
Loose Ends,
The Zeros,
The Moleskins,
The Mummies,
Sonny Sharrock,
Tears for Fears,
Television,
Donald Byrd,
Jeru the Damaja,
New York Dolls,
Drive Like Jehu,
Joyce Sims,
Anthony Braxton,
Ornette Coleman,
Yellowson,
Bootsy's Rubber Band,
Half Japanese,
Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade.
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.