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 Guinea-Bissau and from Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Mumbai.
I'm losing my edge to the art-school Houston 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 snare sounds with much patience.
I was there when Tom Verlaine 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 Eyeless In Gaza to the jazz kids.
I played it at the Troubador.
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 Dave Gahan. All the underground hits.
All Heavy D & The Boyz tracks. I heard you have a vinyl of every John Cale 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 '80s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Dave Clark Five record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jawbox,
Isaac Hayes,
KRS-One,
Bob Dylan,
Bobby Womack,
Porter Ricks,
Andrew Hill,
Soul Sonic Force,
Rhythim Is Rhythim,
Major Organ And The Adding Machine,
David McCallum,
Orchestral Manoeuvres in the Dark,
Jerry Gold Smith,
Moby Grape,
The Tremeloes,
Slave,
Aural Exciters,
Bauhaus,
Kango’s Stein Massive,
The Slits,
Aaron Thompson,
Massinfluence,
Graham Central Station,
Kool G Rap & DJ Polo,
Kauko Röyhkä ja Narttu,
Nick Cave & The Bad Seeds,
Liliput,
Reuben Wilson,
H. Thieme,
UT,
Qualms,
Marc Romboy vs. Booka Shade,
Icehouse,
Underground Resistance,
Radio Birdman,
Gichy Dan,
Theoretical Girls,
Jacob Miller,
Pylon,
Jerry's Kids,
Sound Behaviour,
Symarip,
Maurizio,
Rapeman,
Monks,
Motorama,
T.S.O.L.,
The Birthday Party,
John Lydon,
Magma,
Faust,
Bill Near,
Black Sheep,
Kevin Saunderson,
Mary Jane Girls,
Michelle Simonal,
Yazoo,
Godley & Creme,
Lebanon Hanover,
Magazine,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.