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 El Salvador and from Mumbai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Lagos and Mumbai.
I'm losing my edge to the art-school Mexico City 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Grandmaster Flash and the Furious Five to the electroclash kids.
I played it at the Troubador.
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 Lalann. All the underground hits.
All Wasted Youth tracks. I heard you have a vinyl of every U.S. Maple 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 '90s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work 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?
Howard Jones,
Larry & the Blue Notes,
Main Source,
Traffic Nightmare,
Liliput,
Saccharine Trust,
Rhythim Is Rhythim,
Model 500,
The Selecter,
Gang Gang Dance,
Bobby Hutcherson,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Banda Bassotti,
Roy Ayers,
Talk Talk,
CMW,
The Electric Prunes,
Sex Pistols,
Barclay James Harvest,
Andrew Hill,
Orchestral Manoeuvres in the Dark,
JFA,
Radiopuhelimet,
Jesper Dahlback,
Sister Nancy,
Colin Newman,
Ornette Coleman,
Scrapy,
Malaria!,
Mandrill,
Tropical Tobacco,
Aswad,
Electric Light Orchestra,
Röyhkä ja Rättö ja Lehtisalo,
Niagra,
Jeff Mills,
Marvin Gaye,
The Young Rascals,
Davy DMX,
Supertramp,
Wolf Eyes,
Vainqueur,
Suicide,
Boogie Down Productions,
Grauzone,
Television,
Delon & Dalcan,
Reagan Youth,
Infiniti,
Faust,
Dead Boys,
Sound Behaviour,
Drive Like Jehu,
Scan 7,
Barrington Levy,
The Residents,
ABBA,
Duran Duran,
The Raincoats, The Raincoats, The Raincoats, The Raincoats.
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.