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 South Sudan and from Salvador.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Salvador and Portland.
I'm losing my edge to the art-school Jakarta 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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Nik Kershaw to the punk kids.
I played it at the Hacienda.
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 Eurythmics. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every The Selecter record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Sex Pistols record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Fort Wilson Riot,
Peter Gordon & Love of Life Orchestra,
Eli Mardock,
The New Christs,
Radio Birdman,
Porter Ricks,
Theoretical Girls,
CMW,
Lungfish,
Gastr Del Sol,
Youth Brigade,
Byron Stingily,
Fluxion,
The Flesh Eaters,
Q65,
Gang Green,
Guru Guru,
Brass Construction,
Index,
Sly & The Family Stone,
Yellowson,
Scientists,
The Golliwogs,
Sandy B,
Siglo XX,
Soft Cell,
Curtis Mayfield,
Flipper,
Deutsch Amerikanische Freundschaft,
Goldenarms,
Pet Shop Boys,
Ludus,
Ohio Players,
Kayak,
In Retrospect,
Jawbox,
Blake Baxter,
The Star Department,
Shoche,
Barrington Levy,
48th St. Collective,
Notorious BIG live in Amsterdam,
Manfred Mann's Earth Band,
Derrick May,
The Remains,
Joe Smooth,
Mantronix,
Aloha Tigers,
Letta Mbulu,
Trumans Water,
La Düsseldorf,
Peter and Kerry,
Warren Ellis,
cv313,
Quadrant,
Ash Ra Tempel,
The Litter,
The Sisters of Mercy,
Sarah Menescal,
Magazine,
Basic Channel,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.