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 United Kingdom and from Shanghai.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Toronto.
I'm losing my edge to the art-school Stockholm 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 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 Grauzone to the techno kids.
I played it at CBGB's.
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 Cabaret Voltaire. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tres Demented,
Connie Case,
Erykah Badu,
The Royal Family And The Poor,
Eddi Front,
Nico,
Patti Smith,
The Gladiators,
Ralphi Rosario,
Boredoms,
Marcia Griffiths,
Marc Almond,
Ultravox,
Pharoah Sanders,
Half Japanese,
Juan Atkins,
Wally Richardson,
Tim Buckley,
Con Funk Shun,
Maurizio,
Deutsch Amerikanische Freundschaft,
Andrew Ashong & Theo Parrish,
Sparks,
Darondo,
Frankie Knuckles,
Liaisons Dangereuses,
Yazoo,
Alton Ellis,
Camouflage,
Bang on a Can All-Stars,
Soft Cell,
New Order,
Khruangbin,
Minnie Riperton,
Aswad,
Y Pants,
Mary Jane Girls,
Swell Maps,
Manfred Mann's Earth Band,
Davy DMX,
Cluster,
David Axelrod,
Red Lorry Yellow Lorry,
Newcleus,
Moby Grape,
Marmalade,
Skarface,
Lindisfarne,
Royal Trux,
Röyhkä ja Rättö ja Lehtisalo,
Bobby Hutcherson,
Hashim,
Delta 5,
Heavy D & The Boyz,
Absolute Body Control,
Visage,
The Fall,
Art Ensemble Of Chicago,
Major Organ And The Adding Machine,
Warsaw,
Yaz, Yaz, Yaz, Yaz.
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.