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 Honduras and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1962 to 1977.
I'm losing my edge.
To all the kids in Toronto and Taipei.
I'm losing my edge to the art-school Bologna 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 rhodes 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 Stockholm Monsters to the jazz 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 The Smoke. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Mo-Dettes record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Essential Logic record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
The Gladiators,
Glenn Branca,
Bush Tetras,
Alice Coltrane,
Gil Scott-Heron and Jamie xx,
Bobby Sherman,
Marc Romboy vs. Booka Shade,
Scott Walker,
Eli Mardock,
Mandrill,
Pantytec,
Average White Band,
The Music Machine,
Gary Puckett & The Union Gap,
DJ Sneak,
Todd Terry,
Ludus,
The Young Rascals,
Minnie Riperton,
Connie Case,
Bauhaus,
Notorious Big And Bone Thugs,
The Cowsills,
Kayak,
Fat Boys,
The Gun Club,
Malaria!,
Lou Reed & John Cale,
The Slits,
Iggy Pop,
AZ,
Model 500,
Eddi Front,
Gil Scott Heron,
R.M.O.,
Piero Umiliani,
a-ha,
Althea and Donna,
Talk Talk,
Depeche Mode,
ABBA,
Rites of Spring,
Todd Rundgren,
Henry Cow,
The Barracudas,
Unwound,
Ronan,
Sällskapet,
The Grass Roots,
The Moleskins,
Maleditus Sound,
The Red Krayola,
Bang On A Can,
The Doobie Brothers,
Mark Hollis,
Ash Ra Tempel,
48th St. Collective,
Groovy Waters,
Donny Hathaway,
The Blues Magoos, The Blues Magoos, The Blues Magoos, The Blues Magoos.
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.