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 Chad and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in Stockholm and Portland.
I'm losing my edge to the art-school New York 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 marimba 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 Angels of Light to the disco 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 Ituana. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Camron Feat. Jay Z And Juelz record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moody Blues,
Mantronix,
The Knickerbockers,
The Real Kids,
Toni Rubio,
The Names,
The Motions,
Grandmaster Flash and the Furious Five,
a-ha,
The Black Dice,
Public Image Ltd.,
Goldenarms,
Kool G Rap & DJ Polo,
The Slits,
Charles Mingus,
Joyce Sims,
The Neon Judgement,
Stetsasonic,
Graham Central Station,
Amon Düül II,
The Residents,
Los Fastidios,
Gil Scott-Heron & Brian Jackson,
Andrew Hill,
Wighnomy Brothers & Robag Wruhme,
The Electric Prunes,
The Stooges,
Mo-Dettes,
Laurel Aitken,
Albert Ayler,
the Swans,
Youth Brigade,
Aswad,
Second Layer,
Scientists,
London Community Gospel Choir,
Sparks,
The Cure,
Swell Maps,
Bluetip,
Audionom,
Rotary Connection,
Barry Ungar,
The Slackers,
Simply Red,
Aloha Tigers,
Prince Buster,
Davy DMX,
Inner City,
Minny Pops,
Ultimate Spinach,
Radiohead,
Barclay James Harvest,
The Divine Comedy,
Matthew Halsall,
Roger Hodgson,
The Chocolate Watch Band,
Depeche Mode,
Kauko Röyhkä ja Narttu,
ABBA,
The Walker Brothers,
The Searchers,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
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.