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 Liechtenstein and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Houston and Halifax.
I'm losing my edge to the art-school Milan 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the arpeggiator 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 Oblivians to the rock kids.
I played it at CBGB's.
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 Detroit Cobras. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Urselle 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 '80s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Brick,
Saccharine Trust,
Bobby Byrd,
Vladislav Delay,
Super Lover Cee & Casanova Rud,
Arcadia,
Kevin Saunderson,
The Slackers,
H. Thieme,
Japan,
UT,
The Standells,
Harmonia,
The Smiths,
Gang of Four,
Kerrie Biddell,
The Monks,
Erykah Badu,
Girls At Our Best!,
Malaria!,
Isaac Hayes,
Q65,
Pet Shop Boys,
Sunsets and Hearts,
Sight & Sound,
Toni Rubio,
Little Man,
Mark Hollis,
Cymande,
Tommy Roe,
Soft Cell,
Reuben Wilson,
A Flock of Seagulls,
The Skatalites,
Slave,
Sparks,
The Remains,
Wighnomy Brothers & Robag Wruhme,
The Mighty Diamonds,
Animal Collective,
The Young Rascals,
Glambeats Corp.,
The Count Five,
Nick Cave & The Bad Seeds,
The Black Dice,
Audionom,
Maurizio,
Louis and Bebe Barron,
Negative Approach,
Los Fastidios,
Stiv Bators,
Big Daddy Kane,
Pulsallama,
The Seeds,
The Last Poets,
The United States of America,
Susan Cadogan,
Black Sheep,
Average White Band,
Marcia Griffiths,
Popol Vuh,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.