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 Poland and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Salvador and Glasgow.
I'm losing my edge to the art-school Spokane 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the rhodes 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 Ken Boothe to the grunge kids.
I played it at the Roxy.
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 Bill Wells. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Los Fastidios 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DeepChord presents Echospace,
The Dirtbombs,
The Durutti Column,
The Cowsills,
Louis and Bebe Barron,
the Bar-Kays,
Second Layer,
Heaven 17,
The Smoke,
Andrew Ashong & Theo Parrish,
The Victims,
Eurythmics,
Babytalk,
Marine Girls,
Hardrive,
Ossler,
Roger Hodgson,
Buzzcocks,
Connie Case,
the Soft Cell,
Traffic Nightmare,
Tears for Fears,
Fear,
Ken Boothe,
Bush Tetras,
Lungfish,
Dual Sessions,
Intrusion,
Q and Not U,
Hasil Adkins,
Sad Lovers and Giants,
Lower 48,
Kevin Saunderson,
Fat Boys,
Audionom,
The Fall,
Wighnomy Brothers & Robag Wruhme,
UT,
Jerry Gold Smith,
Ohio Players,
Fort Wilson Riot,
Selector Dub Narcotic,
The Last Poets,
Mary Jane Girls,
The Jesus and Mary Chain,
Surgeon,
The Knickerbockers,
The Men They Couldn't Hang,
Lindisfarne,
Japan,
Aswad,
Brass Construction,
Rekid,
This Heat,
Fluxion,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Scott Walker + Sunn O))),
Gastr Del Sol,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.