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 Calgary.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Manchester and Edmonton.
I'm losing my edge to the art-school Philadelphia 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 1978 at the first Visage practice in a loft in London.
I was working on the organ sounds with much patience.
I was there when Robert Palmer 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 Sparks to the dance kids.
I played it at the Roxy.
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 Eurythmics. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Khruangbin record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare 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?
EPMD,
Lonnie Liston Smith,
Aural Exciters,
Dark Day,
The Techniques,
Minny Pops,
The Dead C,
Jeff Lynne,
David Axelrod,
Maleditus Sound,
Gerry Rafferty,
Mandrill,
The Gun Club,
Negative Approach,
FM Einheit,
Severed Heads,
Bush Tetras,
Bill Wells,
Josef K,
Deutsch Amerikanische Freundschaft,
Slick Rick,
The Cure,
Judy Mowatt,
Gabor Szabo,
Selector Dub Narcotic,
Kool G Rap & DJ Polo,
The Fuzztones,
Fela Kuti,
The Human League,
Alton Ellis,
The Victims,
OOIOO,
Eli Mardock,
Scientists,
Cabaret Voltaire,
Index,
Blake Baxter,
Mary Jane Girls,
Laurel Aitken,
The Moody Blues,
Hardrive,
Johnny Clarke,
Lyres,
Magma,
Eric Copeland,
Scion,
Deepchord,
The Martian,
Peter Gordon & Love of Life Orchestra,
Yaz,
Sällskapet,
Bad Manners,
The Doors,
Reuben Wilson,
Marine Girls,
The Cowsills,
T. Rex,
Al Stewart,
Lou Reed,
Michelle Simonal,
Arthur Verocai,
Pete Rock & C.L. Smooth,
Adolescents,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.