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 Lithuania and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Columbus.
I'm losing my edge to the art-school Madrid 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the rhodes 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 Blossom Toes to the techno 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 Sparks. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Delta 5,
Tomorrow,
The Litter,
Country Joe & The Fish,
Easy Going,
Howard Jones,
Surgeon,
Zapp,
Supertramp,
Freddie Wadling,
Roxy Music,
Camberwell Now,
The Mighty Diamonds,
Alphaville,
Scion,
The Pop Group,
Pet Shop Boys,
Sun Ra Arkestra,
Eyeless In Gaza,
The Jesus and Mary Chain,
The Black Dice,
Pharaoh Sanders and the Fire Engines,
The Dave Clark Five,
Brass Construction,
Funky Four + One,
10cc,
Peter Gordon & Love of Life Orchestra,
Oppenheimer Analysis,
Judy Mowatt,
Barbara Tucker,
The Gap Band,
Roy Ayers Ubiquity,
Radiopuhelimet,
De La Soul & Jungle Brothers,
Stockholm Monsters,
the Normal,
Soul II Soul,
The Fuzztones,
Chris Corsano,
Tommy Roe,
Bang on a Can All-Stars,
Funkadelic,
Thinking Fellers Union Local 282,
F. McDonald,
the Fania All-Stars,
Tim Buckley,
the Bar-Kays,
Toni Rubio,
Aural Exciters,
Rod Modell,
Barrington Levy,
Sugar Minott,
Ornette Coleman,
Liaisons Dangereuses,
Yaz,
ABBA,
Arthur Verocai,
Adolescents,
The Durutti Column,
Joe Finger,
Y Pants,
World's Most, World's Most, World's Most, World's Most.
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.