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 Andorra and from Manila.
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 1976.
I'm losing my edge.
To all the kids in Columbus and Milan.
I'm losing my edge to the art-school Portland 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 Kerri Chandler to the techno kids.
I played it at Trash.
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 Sällskapet. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every Gang Starr 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Drexciya,
Sight & Sound,
Kas Product,
Vainqueur,
Arab on Radar,
Sandy B,
Section 25,
Soft Cell,
Junior Murvin,
Jeru the Damaja,
Eric Dolphy,
The Flesh Eaters,
The Skatalites,
CMW,
The Trojans,
Marc Almond,
The Buckinghams,
Quadrant,
Pylon,
Black Sheep,
kango's stein massive,
Captain Beefheart & His Magic Band,
Unrelated Segments,
Amon Düül II,
The Moleskins,
Fort Wilson Riot,
The Vogues,
Joy Division,
Lightning Bolt,
Mandrill,
The Birthday Party,
Cymande,
Manfred Mann's Earth Band,
Scrapy,
The Fortunes,
Andrew Hill,
Howard Jones,
Deepchord,
Qualms,
The Gories,
Pagans,
Alphaville,
The Velvet Underground,
Q and Not U,
Metal Thangz,
Max Romeo,
Rekid,
The Walker Brothers,
Eric B and Rakim,
Nirvana,
New Age Steppers,
Pussy Galore,
Nick Fraelich,
Zapp,
Ultimate Spinach,
The Neon Judgement,
Radiopuhelimet,
Tom Boy,
The Index, The Index, The Index, The Index.
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.