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 Papua New Guinea and from Delhi.
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 1978.
I'm losing my edge.
To all the kids in Lyon and Bremen.
I'm losing my edge to the art-school Tokyo 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the oboe sounds with much patience.
I was there when Michael McDonald 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 Stetsasonic to the funk 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 Buzzcocks. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every D'Angelo record on German import.
I heard that you have a white label of every seminal grime 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 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Wire,
Mark Hollis,
Erasure,
Erykah Badu,
Livin' Joy,
The Moleskins,
The Real Kids,
The Toasters,
Lalo Schifrin,
The Beau Brummels,
Excepter,
Morten Harket,
FM Einheit,
Sam Rivers,
Pantaleimon,
Joy Division,
A Flock of Seagulls,
Chris & Cosey,
Ohio Players,
Ultimate Spinach,
Radiohead,
Sexual Harrassment,
The Gap Band,
the Swans,
Freddie Wadling,
Rotary Connection,
Camouflage,
Drive Like Jehu,
Strawberry Alarm Clock,
Silicon Teens,
Babytalk,
Avey Tare,
Liaisons Dangereuses,
Inner City,
Michelle Simonal,
New York Dolls,
Jimmy McGriff,
The Skatalites,
Joe Smooth,
Vaughan Mason & Crew,
Audionom,
X-102,
L. Decosne,
Joey Negro,
Josef K,
Robert Görl,
Agent Orange,
Peter & Gordon,
Marc Almond,
Arab on Radar,
The Fall,
Jeff Mills,
Bill Near,
Amon Düül,
Siouxsie and the Banshees,
Robert Wyatt,
The Electric Prunes,
Slave,
Sister Nancy,
Lizzy Mercier Descloux,
Intrusion, Intrusion, Intrusion, Intrusion.
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.