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 Ireland and from Stockholm.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Accra.
I'm losing my edge to the art-school Johannesburg 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 Michael McDonald 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 Neil Young & Crazy Horse to the grunge 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 Patti Smith. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Al Stewart 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba 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 snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Red Krayola,
Skarface,
The Golliwogs,
DeepChord presents Echospace,
Grandmaster Flash,
The Sonics,
Oppenheimer Analysis,
Sun City Girls,
Howard Jones,
CMW,
Traffic Nightmare,
Royal Trux,
Rakim,
Deepchord,
Peter and Kerry,
Moebius,
Ultra Naté,
Groovy Waters,
Manfred Mann's Earth Band,
Teenage Jesus and the Jerks,
Glambeats Corp.,
Drive Like Jehu,
Bobby Hutcherson,
Byron Stingily,
Average White Band,
The Mighty Diamonds,
The Detroit Cobras,
FM Einheit,
Popol Vuh,
Shuggie Otis,
Yaz,
Liaisons Dangereuses,
Henry Cow,
Public Image Ltd.,
The Human League,
Supertramp,
Public Enemy,
Monolake,
Kenny Larkin,
Ash Ra Tempel,
Symarip,
A Certain Ratio,
Grauzone,
Deakin,
Jacques Brel,
Roxette,
Matthew Bourne,
The Smiths,
Bang on a Can All-Stars,
Dennis Brown,
The Raincoats,
Bronski Beat,
Eli Mardock,
Flipper,
MDC,
Hot Snakes,
Tubeway Army,
Blake Baxter,
Cameo,
Skaos,
Gong,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.