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 Slovenia and from Johannesburg.
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 1970.
I'm losing my edge.
To all the kids in Beijing and Houston.
I'm losing my edge to the art-school Sao Paulo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the spring reverb 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 The Cramps to the crunk 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 Marshall Jefferson. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every Ice-T 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Tubeway Army record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
Al Stewart,
Jerry Gold Smith,
The Count Five,
Desert Stars,
Slick Rick,
The West Coast Pop Art Experimental Band,
Camron Feat. Memphis Bleek And Beenie Seigel,
Roy Ayers Ubiquity,
Howard Jones,
Strawberry Alarm Clock,
David McCallum,
Lou Reed & John Cale,
Johnny Osbourne,
Peter & Gordon,
Selector Dub Narcotic,
Dave Gahan,
The Electric Prunes,
Agitation Free,
Tropical Tobacco,
The Index,
Jandek,
E-Dancer,
Black Sheep,
Electric Light Orchestra,
DJ Sneak,
The Gories,
Rufus Thomas,
Mars,
The Birthday Party,
the Swans,
Curtis Mayfield,
Electric Prunes,
Max Romeo,
Zapp,
Lyres,
The Dave Clark Five,
Barclay James Harvest,
Lower 48,
a-ha,
Manfred Mann's Earth Band,
Bad Manners,
Blake Baxter,
Kerrie Biddell,
The Moody Blues,
Alison Limerick,
Wighnomy Brothers & Robag Wruhme,
Crash Course in Science,
Matthew Halsall,
Angels of Light & Akron/Family,
Slave,
Bobby Sherman,
Dual Sessions,
The United States of America,
U.S. Maple,
Thee Headcoats,
Rhythm & Sound,
Nas,
Wire,
Skaos,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.