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 Uruguay and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Cairo.
I'm losing my edge to the art-school Manchester 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 Mistral practice in a loft in Amsterdam.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Q65 to the crunk kids.
I played it at the Astoria.
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 Evens. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every The Remains record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Althea and Donna,
The Moody Blues,
Art Ensemble Of Chicago,
James White and The Blacks,
Barclay James Harvest,
Barrington Levy,
Mark Hollis,
La Düsseldorf,
Eve St. Jones,
The Standells,
The Modern Lovers,
Essential Logic,
Ituana,
Bush Tetras,
Magma,
Groovy Waters,
The J.B.'s,
Gichy Dan,
the Fania All-Stars,
Rufus Thomas,
Slick Rick,
Roger Hodgson,
the Normal,
Section 25,
Grandmaster Flash,
Organ,
Camberwell Now,
The West Coast Pop Art Experimental Band,
Dawn Penn,
Girls At Our Best!,
Bob Dylan,
Ken Boothe,
Au Pairs,
The Invisible,
Leonard Cohen,
Chrome,
Judy Mowatt,
Justin Hinds & The Dominoes,
Kango’s Stein Massive,
Ice-T,
The Mojo Men,
Jeru the Damaja,
Jerry Gold Smith,
Animal Collective,
Crispy Ambulance,
Louis and Bebe Barron,
Byron Stingily,
Black Bananas,
Oneida,
Jawbox,
Whodini,
H. Thieme,
Morten Harket,
Country Joe & The Fish,
Eric Copeland,
Swans,
Gang Green,
Alphaville,
The Gap Band,
Lonnie Liston Smith,
Los Fastidios,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.