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 Barbados and from Mexico City.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Jakarta.
I'm losing my edge to the art-school New York 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 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 Dave Gahan to the disco kids.
I played it at the Astoria.
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 Thompson Twins. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every Rapeman record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Bill Wells,
A Certain Ratio,
Sixth Finger,
Lonnie Liston Smith,
AZ,
Absolute Body Control,
Eric Copeland,
Mary Jane Girls,
Todd Terry,
The Remains,
Gil Scott-Heron and Jamie xx,
MDC,
Jeff Lynne,
Avey Tare & Kría Brekkan,
Cluster,
Dual Sessions,
The Royal Family And The Poor,
Brand Nubian,
Little Man,
Glenn Branca,
Ultimate Spinach,
The Searchers,
Kurtis Blow,
Section 25,
David Axelrod,
Don Cherry,
Chris & Cosey,
Cabaret Voltaire,
Anthony Braxton,
The Toasters,
Minutemen,
The Neon Judgement,
Pharoah Sanders,
The Walker Brothers,
Soulsonic Force,
Lou Reed,
The Moody Blues,
The Monochrome Set,
Grandmaster Flash and the Furious Five,
The Techniques,
David Bowie,
Siglo XX,
Half Japanese,
Joey Negro,
Sex Pistols,
Rahsaan Roland Kirk,
Drexciya,
Ponytail,
Amon Düül,
Dave Gahan,
Big Daddy Kane,
Hashim,
Rapeman,
Massinfluence,
a-ha,
Dark Day,
Black Bananas,
Das Ding,
Janne Schatter,
Depeche Mode,
The Real Kids,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.