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 Lesotho and from Seoul.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Winnipeg.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord 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 Aural Exciters to the jazz kids.
I played it at the Astoria.
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 EPMD. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every The Busters record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
The Birthday Party,
The Invisible,
The Dead C,
Gian Franco Pienzio,
The American Breed,
Juan Atkins,
The Beau Brummels,
Kurtis Blow,
DJ Sneak,
Lebanon Hanover,
Los Fastidios,
Icehouse,
Half Japanese,
Tom Boy,
Notorious Big And Bone Thugs,
Neu!,
The Fall,
Liliput,
Tears for Fears,
The Dave Clark Five,
David Bowie,
Trumans Water,
Skriet,
Rhythm & Sound,
Dr. Dre and Snoop Doggy Dog,
Grey Daturas,
Brothers Johnson,
Rotary Connection,
Technova,
Soft Cell,
Sugar Minott,
The United States of America,
Camouflage,
It's A Beautiful Day,
The Zeros,
Hashim,
The Peanut Butter Conspiracy,
The Chocolate Watch Band,
The Young Rascals,
Terry Callier,
The Selecter,
Jacques Brel,
Bobby Hutcherson,
Skaos,
Oblivians,
The Doors,
The Music Machine,
The New Christs,
Rod Modell,
The Techniques,
Crash Course in Science,
Ten City,
K-Klass,
Joensuu 1685,
Flipper,
Ludus,
The Men They Couldn't Hang,
Chris & Cosey,
Soulsonic Force,
The Cramps, The Cramps, The Cramps, The Cramps.
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.