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 Uruguay and from Calgary.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1977.
I'm losing my edge.
To all the kids in Toronto and Seoul.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Fort Wilson Riot to the techno kids.
I played it at the Crocodile.
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 Davy DMX. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Dark Day record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lindisfarne record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DeepChord presents Echospace,
Slave,
Soft Machine,
Gastr Del Sol,
X-102,
Masters at Work,
The Smoke,
Major Organ And The Adding Machine,
Thee Headcoats,
Amon Düül,
New Age Steppers,
Scott Walker,
The New Christs,
Lakeside,
Andrew Ashong & Theo Parrish,
Q65,
The Index,
Pussy Galore,
The Move,
The United States of America,
Lou Reed & John Cale,
Section 25,
Kenny Larkin,
The Standells,
Basic Channel,
Reagan Youth,
Pulsallama,
Jeff Mills,
Monolake,
Notorious Big And Bone Thugs,
Sixth Finger,
Ronan,
The Searchers,
L. Decosne,
Alphaville,
The Five Americans,
Aural Exciters,
The Gap Band,
UT,
H. Thieme,
Tim Buckley,
The Royal Family And The Poor,
Kerrie Biddell,
Lucky Dragons,
Chris & Cosey,
ABBA,
Aaron Thompson,
The Young Rascals,
Zapp,
Larry & the Blue Notes,
E-Dancer,
Bobby Byrd,
Donald Byrd,
Gerry Rafferty,
Dual Sessions,
Girls At Our Best!,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jesper Dahlback,
Crooked Eye,
Eric B and Rakim,
Jeff Lynne, Jeff Lynne, Jeff Lynne, Jeff Lynne.
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.