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 France and from Lille.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Tehran.
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 arpeggiator sounds with much patience.
I was there when David Bowie 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 funk kids.
I played it at the Spitz.
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 Stockholm Monsters. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Ken Boothe record on German import.
I heard that you have a white label of every seminal crunk 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 mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Radiopuhelimet record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Drive Like Jehu,
Bronski Beat,
Brass Construction,
Jerry Gold Smith,
Rapeman,
Howard Jones,
Eve St. Jones,
Barbara Tucker,
Skriet,
the Human League,
Marcia Griffiths,
Crime,
Tim Buckley,
Rhythim Is Rhythim,
Eric B and Rakim,
Wighnomy Brothers & Robag Wruhme,
Public Image Ltd.,
Clear Light,
Gang Green,
Camron Feat. Jay Z And Juelz,
Nation of Ulysses,
Theoretical Girls,
Major Organ And The Adding Machine,
Sex Pistols,
Soulsonic Force,
The Evens,
Chrome,
Negative Approach,
Alison Limerick,
The Gun Club,
Symarip,
Von Mondo,
The Black Dice,
Scrapy,
Fluxion,
Carl Craig,
Khruangbin,
Banda Bassotti,
Robert Wyatt,
David Bowie,
Skaos,
Barry Ungar,
The Remains,
James White and The Blacks,
Soft Cell,
Young Marble Giants,
MC5,
Oppenheimer Analysis,
Stereo Dub,
Heaven 17,
Susan Cadogan,
The Royal Family And The Poor,
Stockholm Monsters,
Lizzy Mercier Descloux,
Angels of Light & Akron/Family,
Electric Light Orchestra,
Infiniti,
Captain Beefheart & His Magic Band,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.