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 Tajikistan and from Toronto.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Columbus and Mexico City.
I'm losing my edge to the art-school Manchester 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Arcadia 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 The American Breed. All the underground hits.
All Symarip tracks. I heard you have a vinyl of every Suicide record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Symarip,
Spandau Ballet,
Sexual Harrassment,
Liaisons Dangereuses,
Depeche Mode,
Gil Scott-Heron & Brian Jackson,
Rahsaan Roland Kirk,
kango's stein massive,
Leonard Cohen,
Aswad,
Warsaw,
Ice-T,
Absolute Body Control,
Chris Corsano,
Lebanon Hanover,
Radiopuhelimet,
The Modern Lovers,
The Busters,
The Chocolate Watch Band,
Crooked Eye,
Section 25,
Wire,
London Community Gospel Choir,
CMW,
Grandmaster Flash and the Furious Five,
Inner City,
Marcia Griffiths,
Kool Moe Dee,
Peter Gordon & Love of Life Orchestra,
Joe Smooth,
The Men They Couldn't Hang,
Pharoah Sanders,
Severed Heads,
Ponytail,
Reuben Wilson,
Teenage Jesus and the Jerks,
Traffic Nightmare,
James Chance & The Contortions,
David McCallum,
Half Japanese,
Fad Gadget,
Cabaret Voltaire,
Eurythmics,
Lindisfarne,
Moby Grape,
Moss Icon,
Clear Light,
Theoretical Girls,
Q and Not U,
Pet Shop Boys,
Malaria!,
Sad Lovers and Giants,
The Moleskins,
H. Thieme,
Niagra,
The Kinks,
Harry Pussy,
Steve Hackett,
Henry Cow,
Fat Boys,
The Neon Judgement,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.