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 Djibouti and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Halifax and Bologna.
I'm losing my edge to the art-school Lille 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 2001 at the first Tiga practice in a loft in Montreal.
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 ABC to the dance kids.
I played it at Cafe Wha.
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 Camberwell Now. All the underground hits.
All Brick tracks. I heard you have a vinyl of every Accadde A record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Red Lorry Yellow Lorry,
The Standells,
Young Marble Giants,
The Sisters of Mercy,
Jawbox,
Soft Cell,
Alison Limerick,
Nik Kershaw,
Kool Moe Dee,
Pole,
Rotary Connection,
Unrelated Segments,
The Vogues,
Bob Dylan,
Ronan,
Susan Cadogan,
Crash Course in Science,
Half Japanese,
Visionaries,LMNO, T- Love & Iriscience,
Vaughan Mason & Crew,
Jeru the Damaja,
Kings Of Tomorrow,
The Velvet Underground,
the Soft Cell,
John Holt,
Das Ding,
Howard Jones,
Ludus,
Roger Hodgson,
Pet Shop Boys,
Slave,
Mr. Review,
The Pop Group,
Soft Machine,
the Bar-Kays,
The New Christs,
Little Man,
Stockholm Monsters,
Gary Puckett & The Union Gap,
The Last Poets,
The United States of America,
The Barracudas,
The Motions,
Peter and Kerry,
Gang Green,
Sun City Girls,
Marmalade,
EPMD,
Qualms,
Pylon,
Eden Ahbez,
Circle Jerks,
Ash Ra Tempel,
Idris Muhammad,
Terrestrial Tones,
The Flesh Eaters,
The Leaves,
Skarface,
Visage,
The Invisible,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.