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 Japan and from Portland.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Paris and Winnipeg.
I'm losing my edge to the art-school Spokane 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 arpeggiator 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 The Young Rascals to the funk kids.
I played it at Cafe Wha.
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 Iggy Pop. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Quantec record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
DJ Style,
Traffic Nightmare,
Supertramp,
The Neon Judgement,
The Fall,
The Blackbyrds,
The Alarm Clocks,
Swell Maps,
Kerri Chandler,
The Cosmic Jokers,
Minny Pops,
Jerry's Kids,
Connie Case,
Kings Of Tomorrow,
Interpol,
Los Fastidios,
Niagra,
Nik Kershaw,
Rhythm & Sound,
UT,
The Pop Group,
The Slits,
The Young Rascals,
Blossom Toes,
U.S. Maple,
Vladislav Delay,
the Slits,
Radio Birdman,
Aaron Thompson,
Gang Gang Dance,
Arthur Verocai,
Nation of Ulysses,
Roy Ayers Ubiquity,
Bizarre Inc.,
It's A Beautiful Day,
Gabor Szabo,
Mandrill,
The Leaves,
Sonic Youth,
Big Daddy Kane,
Soft Machine,
Deakin,
The Gories,
The Sonics,
Soft Cell,
Toni Rubio,
Crash Course in Science,
The Men They Couldn't Hang,
The Misunderstood,
Ludus,
James Chance & The Contortions,
The New Christs,
Byron Stingily,
Pierre Henry,
The Stooges,
Thinking Fellers Union Local 282,
Boz Scaggs,
Kool Moe Dee,
John Cale,
Ronnie Foster,
The Index,
D'Angelo,
Minutemen, Minutemen, Minutemen, Minutemen.
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.