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 Peru 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 1967 to 1973.
I'm losing my edge.
To all the kids in Paris and Calgary.
I'm losing my edge to the art-school Jakarta 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Inner City to the dance kids.
I played it at Trash.
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 James White and The Blacks. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal rock 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 a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
Shuggie Otis,
Tomorrow,
Pole,
The Neon Judgement,
Brothers Johnson,
The Modern Lovers,
Crispian St. Peters,
Lungfish,
Deutsch Amerikanische Freundschaft,
Boogie Down Productions,
Skaos,
Gang of Four,
John Foxx,
Joe Finger,
The American Breed,
Anakelly,
Symarip,
Crispy Ambulance,
Spoonie Gee,
The Cure,
Circle Jerks,
New York Dolls,
Bobby Womack,
The Happenings,
Gil Scott-Heron & Brian Jackson,
Ituana,
Sad Lovers and Giants,
Visage,
Terror Squad Feat. Camron,
The Mighty Diamonds,
T. Rex,
In Retrospect,
Surgeon,
Arab on Radar,
The Leaves,
Gang Green,
Stereo Dub,
a-ha,
Liaisons Dangereuses,
Man Parrish,
Alton Ellis,
Sonic Youth,
Jacques Brel,
Scion,
Icehouse,
Basic Channel,
Rakim,
Patti Smith,
The Golliwogs,
Massinfluence,
R.M.O.,
Matthew Halsall,
Blake Baxter,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pierre Henry,
Fela Kuti,
La Düsseldorf,
The Smoke,
Morten Harket,
The Cramps,
Freddie Wadling,
Lafayette Afro Rock Band,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.