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 Finland and from Toronto.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Edmonton.
I'm losing my edge to the art-school Johannesburg 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 Second Layer practice in a loft in South London.
I was working on the oboe sounds with much patience.
I was there when Lou Reed 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 Nirvana to the punk 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 Orchestral Manoeuvres in the Dark. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every Sparks 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The New Christs,
Throbbing Gristle,
Bush Tetras,
Suburban Knight,
Beasts of Bourbon,
Liaisons Dangereuses,
Blake Baxter,
Electric Light Orchestra,
One Last Wish,
Girls At Our Best!,
Robert Görl,
The Fortunes,
Justin Hinds & The Dominoes,
Main Source,
Arab on Radar,
Jeff Lynne,
Cameo,
Lou Reed & John Cale,
The Mummies,
Brothers Johnson,
Deadbeat,
The Smoke,
Mary Jane Girls,
Röyhkä ja Rättö ja Lehtisalo,
Lalann,
Rapeman,
Cabaret Voltaire,
The Chocolate Watch Band,
Cymande,
Malaria!,
Louis and Bebe Barron,
Tears for Fears,
Dark Day,
Richard Hell and the Voidoids,
Kenny Larkin,
MC5,
Flamin' Groovies,
Kings Of Tomorrow,
Bob Dylan,
Ice-T,
Peter & Gordon,
Morten Harket,
Albert Ayler,
Tommy Roe,
AZ,
the Soft Cell,
Swans,
The Trojans,
8 Eyed Spy,
Echospace,
Kevin Saunderson,
Terry Callier,
Yaz,
Notorious BIG live in Amsterdam,
Lonnie Liston Smith,
Dr. Dre and Snoop Doggy Dog,
Gichy Dan,
Angry Samoans,
Outsiders,
Alison Limerick,
Public Enemy,
Massinfluence,
June of 44,
David Axelrod,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.