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 Slovenia and from New York.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1969 to 1971.
I'm losing my edge.
To all the kids in Bremen and Madrid.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the oboe 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 Matthew Halsall to the dance kids.
I played it at the 40 Watt.
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 Laurel Aitken. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Gerry Rafferty record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharoah Sanders,
Beasts of Bourbon,
Royal Trux,
Orchestral Manoeuvres in the Dark,
Erasure,
Peter Gordon & Love of Life Orchestra,
Ken Boothe,
Cheater Slicks,
Terrestrial Tones,
Pole,
Heaven 17,
Funky Four + One,
Sister Nancy,
Roger Hodgson,
Aswad,
Hardrive,
David Axelrod,
Second Layer,
Deadbeat,
Peter & Gordon,
Unwound,
Anthony Braxton,
Ultimate Spinach,
The Moleskins,
Pere Ubu,
48th St. Collective,
The Standells,
Avey Tare & Kría Brekkan,
Alphaville,
Marc Almond,
Rowland S Howard / Lydia Lunch,
Minnie Riperton,
the Human League,
Barclay James Harvest,
Cameo,
Lightning Bolt,
Public Enemy,
DNA,
Thompson Twins,
Shuggie Otis,
Bobby Hutcherson,
Dennis Brown,
Organ,
JFA,
10cc,
U.S. Maple,
John Holt,
Sparks,
Marine Girls,
Trumans Water,
Metal Thangz,
Dead Boys,
Masters at Work,
The Sound,
Motorama,
Crispy Ambulance,
Sexual Harrassment,
Jeru the Damaja,
Stereo Dub,
The Names,
Simply Red,
Max Romeo,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.