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 Namibia and from Manila.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1979.
I'm losing my edge.
To all the kids in Lille and Bremen.
I'm losing my edge to the art-school Tokyo 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the rhodes 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 Amazonics to the rap 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 Freddie Wadling. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Neil Young 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 '80s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a the Association 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?
The Slackers,
Underground Resistance,
Avey Tare's Slasher Flicks,
Talk Talk,
Wings,
Fear,
Qualms,
Moebius,
Warsaw,
E-Dancer,
Terry Callier,
Lebanon Hanover,
Spoonie Gee,
The Music Machine,
Cameo,
Surgeon,
Lou Reed & John Cale,
Harmonia,
Roxy Music,
Soul II Soul,
La Düsseldorf,
Slick Rick,
Model 500,
Ultra Naté,
Gil Scott-Heron & Brian Jackson,
Inner City,
U.S. Maple,
The Evens,
Basic Channel,
Wasted Youth,
China Crisis,
Roxette,
D'Angelo,
Henry Cow,
London Community Gospel Choir,
The Motions,
Althea and Donna,
Electric Light Orchestra,
Matthew Halsall,
Michelle Simonal,
Pet Shop Boys,
Barrington Levy,
Larry & the Blue Notes,
Be Bop Deluxe,
The Golliwogs,
Connie Case,
Louis and Bebe Barron,
The American Breed,
Pharoah Sanders,
Robert Hood,
Rufus Thomas,
Sarah Menescal,
the Association,
Joe Smooth,
Jerry Gold Smith,
Youth Brigade,
Country Joe & The Fish,
Groovy Waters,
Ultimate Spinach,
The Sisters of Mercy,
Khruangbin,
Stereo Dub,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.