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 Hungary and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Lyon.
I'm losing my edge to the art-school Jakarta 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the harpsichord 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 The Last Poets to the electroclash kids.
I played it at the Hacienda.
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 Ronan. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every Alison Limerick record on German import.
I heard that you have a white label of every seminal funk 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 snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
The Victims,
Model 500,
Gichy Dan,
Wasted Youth,
Eric Copeland,
Chris & Cosey,
Pierre Henry,
The Jesus and Mary Chain,
The Names,
Leonard Cohen,
Lou Christie,
Donny Hathaway,
Kool G Rap & DJ Polo,
Darondo,
the Bar-Kays,
Bluetip,
Crooked Eye,
Youth Brigade,
Sad Lovers and Giants,
Newcleus,
Black Pus,
Godley & Creme,
Aural Exciters,
Röyhkä ja Rättö ja Lehtisalo,
Urselle,
The Evens,
Banda Bassotti,
Grauzone,
Minutemen,
Thompson Twins,
The Pop Group,
ABBA,
Anakelly,
JFA,
The Walker Brothers,
The Skatalites,
Qualms,
Derrick May,
David Bowie,
K-Klass,
Smog,
Harry Pussy,
The Gap Band,
Bobby Byrd,
Buzzcocks,
Sparks,
Tropical Tobacco,
Loose Ends,
The Black Dice,
Jerry's Kids,
Sound Behaviour,
Altered Images,
Glambeats Corp.,
Terror Squad Feat. Camron,
The Vogues,
Junior Murvin,
Sex Pistols,
the Germs,
Hoover,
The Slackers,
Reagan Youth,
Hot Snakes,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.