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 Vanuatu and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Bologna and London.
I'm losing my edge to the art-school Portland 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 1971 at the first Big Star practice in a loft in Memphis.
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 China Crisis to the disco 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 Dave Gahan. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every Organ 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
Michelle Simonal,
Angry Samoans,
The Durutti Column,
Lower 48,
Basic Channel,
Marshall Jefferson,
Orchestral Manoeuvres in the Dark,
Wire,
Howard Jones,
Bronski Beat,
CMW,
London Community Gospel Choir,
Outsiders,
Scion,
Angels of Light & Akron/Family,
Royal Trux,
LL Cool J,
Soft Cell,
MC5,
Delon & Dalcan,
Tropical Tobacco,
DJ Sneak,
Ralphi Rosario,
Jacques Brel,
The Monochrome Set,
Roy Ayers,
Davy DMX,
Public Image Ltd.,
Dual Sessions,
Wings,
Pet Shop Boys,
Lizzy Mercier Descloux,
The Move,
Todd Terry,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Residents,
Gary Puckett & The Union Gap,
Agitation Free,
In Retrospect,
Cymande,
Flash Fearless,
Major Organ And The Adding Machine,
The Slits,
Avey Tare,
The Fire Engines,
Pantytec,
Inner City,
Pulsallama,
Au Pairs,
the Normal,
PIL,
Connie Case,
The Trojans,
The Evens,
Roxette,
DJ Style,
Tubeway Army,
Deepchord,
Unrelated Segments,
The Men They Couldn't Hang,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.