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 South Africa and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Tehran and Manila.
I'm losing my edge to the art-school Lyon 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 Michael McDonald 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 Trojans to the dance kids.
I played it at the Astoria.
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 Japan. All the underground hits.
All Ponytail tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal dance 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 linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
Howard Jones,
The Selecter,
Marcia Griffiths,
The Slackers,
Vainqueur,
Camouflage,
Yazoo,
U.S. Maple,
Iggy Pop,
A Certain Ratio,
Kerri Chandler,
The Vogues,
Eden Ahbez,
John Lydon,
Steve Hackett,
The Evens,
Richard Hell and the Voidoids,
Rowland S Howard / Lydia Lunch,
Spoonie Gee,
Sound Behaviour,
Underground Resistance,
Swans,
Lightning Bolt,
Bootsy Collins,
Lungfish,
Beasts of Bourbon,
Johnny Osbourne,
Pulsallama,
Panda Bear,
E-Dancer,
Barbara Tucker,
Lou Reed,
The Index,
Camberwell Now,
Talk Talk,
Stereo Dub,
Angels of Light & Akron/Family,
Selector Dub Narcotic,
Super Lover Cee & Casanova Rud,
Angry Samoans,
Hoover,
Drexciya,
Man Eating Sloth,
Monks,
Scientists,
The Real Kids,
Vladislav Delay,
Ossler,
John Foxx,
CMW,
Yellowson,
David Bowie,
Crime,
Qualms,
Scott Walker,
Larry & the Blue Notes,
Tommy Roe,
Lucky Dragons,
the Association, the Association, the Association, the Association.
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.