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 Iceland and from Salvador.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Milan and Toronto.
I'm losing my edge to the art-school Taipei 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Aaron Thompson to the techno kids.
I played it at Trash.
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 Cecil Taylor. All the underground hits.
All Brand Nubian tracks. I heard you have a vinyl of every The Alarm Clocks 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 a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
Severed Heads,
The Music Machine,
Stockholm Monsters,
The Dirtbombs,
OOIOO,
The Angels of Light,
John Foxx,
Trumans Water,
Cybotron,
Bill Wells,
Crispy Ambulance,
Don Cherry,
The Martian,
June of 44,
This Heat,
Arab on Radar,
Oneida,
Teenage Jesus and the Jerks,
The Residents,
Cymande,
Camron Feat. Memphis Bleek And Beenie Seigel,
John Coltrane,
The Fuzztones,
Sällskapet,
Marshall Jefferson,
Fifty Foot Hose,
Depeche Mode,
Larry & the Blue Notes,
X-102,
Boogie Down Productions,
Tres Demented,
Sight & Sound,
Blancmange,
Grauzone,
The Selecter,
Albert Ayler,
Harpers Bizarre,
Skriet,
Intrusion,
Toni Rubio,
The Cosmic Jokers,
Bobby Womack,
Red Lorry Yellow Lorry,
the Germs,
Ash Ra Tempel,
Icehouse,
The Tremeloes,
Eve St. Jones,
Japan,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Fugazi,
Aural Exciters,
Faraquet,
Theoretical Girls,
Roxy Music,
John Holt,
The Moleskins,
Thinking Fellers Union Local 282,
Electric Prunes,
Donny Hathaway,
Bizarre Inc.,
Radiopuhelimet, Radiopuhelimet, Radiopuhelimet, Radiopuhelimet.
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.