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 Korea North and from Woodstock.
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 1977.
I'm losing my edge.
To all the kids in Copenhagen and Mumbai.
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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Wire to the dance 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 Livin' Joy. All the underground hits.
All Erykah Badu tracks. I heard you have a vinyl of every Boogie Down Productions record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
Alice Coltrane,
Beasts of Bourbon,
Jesper Dahlbäck,
The Black Dice,
48th St. Collective,
Black Sheep,
Todd Terry,
Derrick Morgan,
The Vogues,
Mantronix,
Royal Trux,
Whodini,
Nils Olav,
Black Pus,
Pierre Henry,
Pete Rock & C.L. Smooth,
Brick,
Jandek,
the Slits,
The Flesh Eaters,
Infiniti,
Dave Gahan,
Ornette Coleman,
Audionom,
Wally Richardson,
The Monochrome Set,
Cymande,
Kings Of Tomorrow,
Quantec,
Glenn Branca,
Grauzone,
Andrew Ashong & Theo Parrish,
Kaleidoscope,
Jerry Gold Smith,
Subhumans,
KRS-One,
Yazoo,
Aswad,
Jeff Mills,
Pulsallama,
Public Enemy,
Eric B and Rakim,
The Standells,
These Immortal Souls,
Heavy D & The Boyz,
Icehouse,
Josef K,
Morten Harket,
Symarip,
Minnie Riperton,
Be Bop Deluxe,
Toni Rubio,
Jeru the Damaja,
The Golliwogs,
Agent Orange,
Warsaw,
The Associates,
Dorothy Ashby,
The Blues Magoos,
Lou Reed,
Traffic Nightmare,
Gastr Del Sol, Gastr Del Sol, Gastr Del Sol, Gastr Del Sol.
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.