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 Sierra Leone and from Stockholm.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Tokyo.
I'm losing my edge to the art-school Mexico City 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Sugar Minott to the punk kids.
I played it at the 40 Watt.
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 Black Pus. All the underground hits.
All Girls At Our Best! tracks. I heard you have a vinyl of every Vaughan Mason & Crew record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a H. Thieme record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
Anakelly,
Alison Limerick,
Rod Modell,
Scott Walker + Sunn O))),
Cal Tjader,
Hasil Adkins,
Absolute Body Control,
David Axelrod,
The Sisters of Mercy,
Sun City Girls,
The Victims,
Thee Headcoats,
The Walker Brothers,
Sugar Minott,
Rowland S Howard / Lydia Lunch,
Judy Mowatt,
Matthew Bourne,
Fear,
T.S.O.L.,
Flamin' Groovies,
Simply Red,
Dennis Brown,
Henry Cow,
The Cure,
Black Pus,
UT,
Richard Hell and the Voidoids,
Lonnie Liston Smith,
the Germs,
The Index,
OOIOO,
Sparks,
Drexciya,
Mo-Dettes,
Angry Samoans,
Magazine,
The Pop Group,
Roger Hodgson,
The Slits,
Aural Exciters,
Cluster,
Cybotron,
Nik Kershaw,
Crime,
The Peanut Butter Conspiracy,
Arab on Radar,
Boz Scaggs,
Nas,
The Red Krayola,
The Fuzztones,
Hardrive,
Zapp,
Funky Four + One,
Marcia Griffiths,
Patti Smith,
Joe Finger,
Max Romeo,
Oppenheimer Analysis,
Metal Thangz,
The Divine Comedy,
Groovy Waters,
Eurythmics,
Guru Guru, Guru Guru, Guru Guru, Guru Guru.
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.