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 Georgia and from Mexico City.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Lille and Winnipeg.
I'm losing my edge to the art-school Hong Kong 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb 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 The Human League to the jazz 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 Lou Reed. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The J.B.'s,
Rahsaan Roland Kirk,
Althea and Donna,
A Certain Ratio,
Average White Band,
Robert Görl,
Con Funk Shun,
Barclay James Harvest,
Ohio Players,
The Count Five,
Lafayette Afro Rock Band,
Heaven 17,
Scratch Acid,
Unwound,
Shoche,
Gong,
Zapp,
Roxette,
The Cure,
Hasil Adkins,
David Bowie,
Nation of Ulysses,
The Moody Blues,
Pierre Henry,
Jeff Lynne,
Masters at Work,
Sexual Harrassment,
Gian Franco Pienzio,
Bobbi Humphrey,
Andrew Ashong & Theo Parrish,
the Bar-Kays,
Bronski Beat,
Pete Rock & C.L. Smooth,
Talk Talk,
Wasted Youth,
Bob Dylan,
Kas Product,
Terrestrial Tones,
Ralphi Rosario,
The Beau Brummels,
Magma,
The Music Machine,
the Soft Cell,
Rakim,
The Alarm Clocks,
Avey Tare,
Bobby Hutcherson,
Fear,
The Gun Club,
CMW,
Silicon Teens,
The Fire Engines,
Gichy Dan,
Nas,
Fifty Foot Hose,
Khruangbin,
Lower 48,
The Moleskins,
Lonnie Liston Smith,
Hot Snakes,
Arcadia,
FM Einheit,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.