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 United Kingdom and from Copenhagen.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Seoul and Manila.
I'm losing my edge to the art-school Lagos 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 Rowland S Howard / Lydia Lunch to the electroclash kids.
I played it at Cafe Wha.
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 Marshall Jefferson. All the underground hits.
All Tommy Roe tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Ultravox,
Throbbing Gristle,
The Star Department,
The West Coast Pop Art Experimental Band,
Icehouse,
Funky Four + One,
U.S. Maple,
Goldenarms,
Curtis Mayfield,
Slick Rick,
Excepter,
Marmalade,
Kenny Larkin,
Peter & Gordon,
Justin Hinds & The Dominoes,
Sonny Sharrock,
Rahsaan Roland Kirk,
Franke,
One Last Wish,
Eve St. Jones,
Erasure,
Thinking Fellers Union Local 282,
X-102,
Todd Terry,
The Happenings,
The Sound,
Joe Smooth,
Minny Pops,
A Flock of Seagulls,
Arthur Verocai,
Fat Boys,
the Sonics,
Sällskapet,
The Moleskins,
Gil Scott Heron,
Peter Gordon & Love of Life Orchestra,
Pharaoh Sanders and the Fire Engines,
Y Pants,
The Mojo Men,
The Cosmic Jokers,
Wolf Eyes,
Pet Shop Boys,
Kings Of Tomorrow,
China Crisis,
Mo-Dettes,
Suburban Knight,
Crash Course in Science,
Second Layer,
Drive Like Jehu,
Zero Boys,
Notorious Big And Bone Thugs,
Dark Day,
Nico,
Avey Tare's Slasher Flicks,
Hasil Adkins,
John Foxx,
Loose Ends,
Echo & the Bunnymen,
Essential Logic,
The Alarm Clocks,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.