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 Lebanon and from Glasgow.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Mexico City.
I'm losing my edge to the art-school Seoul 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 World's Most to the disco kids.
I played it at the Spitz.
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 Pete Rock & C.L. Smooth. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every U.S. Maple record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Organ record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
The Grass Roots,
Talk Talk,
Anthony Braxton,
Eli Mardock,
Susan Cadogan,
Marshall Jefferson,
Soulsonic Force,
Bush Tetras,
The Fall,
Country Joe & The Fish,
Siouxsie and the Banshees,
Deadbeat,
L. Decosne,
Nico,
Janne Schatter,
Mark Hollis,
Cecil Taylor,
Wings,
Avey Tare & Kría Brekkan,
The Cramps,
The Doors,
Livin' Joy,
Blossom Toes,
Altered Images,
Rosa Yemen,
Avey Tare's Slasher Flicks,
Roger Hodgson,
The Shadows of Knight,
Intrusion,
Scan 7,
The Martian,
Vladislav Delay,
Chris Corsano,
Dave Gahan,
Maurizio,
Harpers Bizarre,
The Beau Brummels,
Lebanon Hanover,
Glambeats Corp.,
The Monks,
Ice-T,
Notorious Big And Bone Thugs,
Jawbox,
Marine Girls,
Gerry Rafferty,
Donny Hathaway,
Bronski Beat,
Fear,
Andrew Ashong & Theo Parrish,
Urselle,
Zapp,
Sound Behaviour,
Monolake,
H. Thieme,
Jerry Gold Smith,
Outsiders,
Lou Reed & John Cale,
Ornette Coleman,
ABBA,
Lou Christie,
James Chance & The Contortions,
Scion,
The Associates, The Associates, The Associates, The Associates.
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.