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 Luxembourg and from Manchester.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Portland and Columbus.
I'm losing my edge to the art-school Halifax 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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Ralphi Rosario to the crunk kids.
I played it at the Roxy.
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 L. Decosne. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every 8 Eyed Spy record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Groovy Waters record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Drexciya,
Jeff Mills,
Strawberry Alarm Clock,
Terry Callier,
Jacques Brel,
The Mojo Men,
Buzzcocks,
China Crisis,
Scan 7,
Judy Mowatt,
H. Thieme,
Teenage Jesus and the Jerks,
Sun City Girls,
Oblivians,
U.S. Maple,
Blake Baxter,
Tom Boy,
Flipper,
Fifty Foot Hose,
Robert Görl,
Henry Cow,
Barry Ungar,
Pagans,
Captain Beefheart & His Magic Band,
Dual Sessions,
Guru Guru,
Supertramp,
kango's stein massive,
The Kinks,
Deepchord,
Altered Images,
The Shadows of Knight,
The Alarm Clocks,
Smog,
DNA,
Pharoah Sanders,
Eddi Front,
Nas,
the Human League,
Dennis Brown,
Swans,
Goldenarms,
Tears for Fears,
Michelle Simonal,
Camouflage,
Sällskapet,
Electric Light Orchestra,
Avey Tare,
Aural Exciters,
Symarip,
Major Organ And The Adding Machine,
The Blackbyrds,
MDC,
Dorothy Ashby,
Althea and Donna,
Maleditus Sound,
The Slits,
The Wake,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.