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 Equatorial Guinea 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 1966 to 1973.
I'm losing my edge.
To all the kids in Salvador and Johannesburg.
I'm losing my edge to the art-school Philadelphia 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 organ sounds with much patience.
I was there when Lou Reed 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 Nation of Ulysses to the techno kids.
I played it at the Troubador.
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 Qualms. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Lucky Dragons 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 '80s cut and another box set from the '80s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
The Selecter,
Soul Sonic Force,
Aswad,
Zapp,
The Techniques,
Laurel Aitken,
Saccharine Trust,
Lee Hazlewood,
Second Layer,
Ohio Players,
Skaos,
Liaisons Dangereuses,
Lindisfarne,
Bush Tetras,
Lungfish,
Max Romeo,
Jesper Dahlback,
Marine Girls,
John Holt,
Arab on Radar,
Marvin Gaye,
Reagan Youth,
This Heat,
ABBA,
Trumans Water,
Nik Kershaw,
Excepter,
Glenn Branca,
Black Pus,
Throbbing Gristle,
Con Funk Shun,
Jerry's Kids,
Dual Sessions,
Girls At Our Best!,
Pantaleimon,
Pantytec,
Cabaret Voltaire,
The Grass Roots,
Avey Tare's Slasher Flicks,
Stiv Bators,
The Litter,
Motorama,
Angry Samoans,
Steve Hackett,
Byron Stingily,
Camberwell Now,
Captain Beefheart & His Magic Band,
the Association,
Dave Gahan,
X-Ray Spex,
Röyhkä ja Rättö ja Lehtisalo,
The Jesus and Mary Chain,
Peter & Gordon,
Ken Boothe,
Thompson Twins,
Alison Limerick,
John Cale,
Mandrill,
Grey Daturas,
Marc Romboy vs. Booka Shade,
Wolf Eyes,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.