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 Italy and from Beijing.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1977.
I'm losing my edge.
To all the kids in Lille and Mumbai.
I'm losing my edge to the art-school Stockholm 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Derrick Morgan to the grunge kids.
I played it at Cafe Wha.
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 Sarah Menescal. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every Lizzy Mercier Descloux 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Grandmaster Flash,
the Germs,
DeepChord presents Echospace,
Qualms,
Tropical Tobacco,
The Dave Clark Five,
Lungfish,
Rotary Connection,
Anthony Braxton,
The Selecter,
Judy Mowatt,
Bronski Beat,
Röyhkä ja Rättö ja Lehtisalo,
David Axelrod,
Patti Smith,
Cameo,
John Holt,
Delta 5,
The Litter,
Avey Tare's Slasher Flicks,
Vainqueur,
Marcia Griffiths,
The Detroit Cobras,
Juan Atkins,
Kango’s Stein Massive,
Black Bananas,
Joe Finger,
Dead Boys,
Essential Logic,
The Red Krayola,
Terry Callier,
Shoche,
Super Lover Cee & Casanova Rud,
The Fall,
Brass Construction,
Rhythm & Sound,
Crash Course in Science,
Thee Headcoats,
Au Pairs,
Reuben Wilson,
Unrelated Segments,
The Cosmic Jokers,
Althea and Donna,
Dr. Dre and Snoop Doggy Dog,
The Fire Engines,
Gregory Isaacs,
Ice-T,
Captain Beefheart & His Magic Band,
Black Sheep,
Notorious BIG live in Amsterdam,
Kas Product,
The Alarm Clocks,
Man Eating Sloth,
Index,
Wire,
Johnny Clarke,
Jacob Miller,
Terror Squad Feat. Camron,
X-Ray Spex,
The Martian,
Eric Copeland,
Silicon Teens, Silicon Teens, Silicon Teens, Silicon Teens.
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.