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 the UAE and from Mumbai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1974.
I'm losing my edge.
To all the kids in Madrid and Sao Paulo.
I'm losing my edge to the art-school Tokyo 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 synthesizer 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 Pylon to the electroclash 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 Reuben Wilson. All the underground hits.
All Altered Images tracks. I heard you have a vinyl of every New Order record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
Lonnie Liston Smith,
Sexual Harrassment,
Ultra Naté,
Bobbi Humphrey,
Heavy D & The Boyz,
Babytalk,
Crispy Ambulance,
Sugar Minott,
Man Parrish,
Rod Modell,
Prince Buster,
Deepchord,
The Doors,
Mars,
Soft Machine,
Procol Harum,
Outsiders,
Graham Central Station,
CMW,
Yazoo,
Barrington Levy,
Spandau Ballet,
Eyeless In Gaza,
Kevin Saunderson,
Arthur Verocai,
Bootsy Collins,
Manfred Mann's Earth Band,
Liliput,
Henry Cow,
Max Romeo,
MDC,
the Soft Cell,
Louis and Bebe Barron,
Radio Birdman,
Girls At Our Best!,
Wolf Eyes,
Stockholm Monsters,
Unrelated Segments,
Pagans,
Interpol,
Neil Young & Crazy Horse,
John Foxx,
Amazonics,
Pulsallama,
Drexciya,
The Invisible,
A Flock of Seagulls,
Jerry's Kids,
Negative Approach,
Art Ensemble Of Chicago,
Major Organ And The Adding Machine,
Trumans Water,
Rosa Yemen,
Second Layer,
Piero Umiliani,
Hardrive,
New York Dolls,
Rapeman,
ABC,
Suburban Knight,
Frankie Knuckles,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.