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 Sierra Leone and from Taipei.
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 1979.
I'm losing my edge.
To all the kids in Milan and Milan.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Matthew Bourne to the techno 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 Agent Orange. All the underground hits.
All Bluetip tracks. I heard you have a vinyl of every The Litter 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 '70s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Monks 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?
Reuben Wilson,
Red Lorry Yellow Lorry,
Rhythm & Sound,
The Jesus and Mary Chain,
Lungfish,
Crispy Ambulance,
Be Bop Deluxe,
Ralphi Rosario,
Magma,
Half Japanese,
Arcadia,
John Foxx,
Hasil Adkins,
The Moody Blues,
Rod Modell,
Echo & the Bunnymen,
Fugazi,
D'Angelo,
John Cale,
Whodini,
Justin Hinds & The Dominoes,
Nico,
The Music Machine,
the Slits,
Grandmaster Flash,
Bauhaus,
The Buckinghams,
Rowland S Howard / Lydia Lunch,
Robert Görl,
The Modern Lovers,
The Toasters,
The Litter,
Infiniti,
Bluetip,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Vaughan Mason & Crew,
Inner City,
Ultravox,
The Monks,
Adolescents,
Funky Four + One,
Kango’s Stein Massive,
The Trojans,
Qualms,
Ronan,
Boogie Down Productions,
The Golliwogs,
New Order,
World's Most,
Theoretical Girls,
The United States of America,
Donald Byrd,
Audionom,
The Last Poets,
Crispian St. Peters,
Andrew Hill,
One Last Wish,
Rites of Spring,
Porter Ricks,
The Martian,
the Swans, the Swans, the Swans, the Swans.
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.