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 Fiji and from Seoul.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Winnipeg.
I'm losing my edge to the art-school Accra 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes 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 John Foxx to the grime kids.
I played it at the Crocodile.
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 Aaron Thompson. All the underground hits.
All the Fania All-Stars tracks. I heard you have a vinyl of every Youth Brigade 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 '70s cut and another box set from the '70s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Connie Case,
Inner City,
Amon Düül,
Barbara Tucker,
The Blackbyrds,
The Litter,
Avey Tare's Slasher Flicks,
Ludus,
a-ha,
Freddie Wadling,
Marvin Gaye,
Alton Ellis,
The Velvet Underground,
Crispy Ambulance,
Brand Nubian,
Kings Of Tomorrow,
Jandek,
Circle Jerks,
Captain Beefheart & His Magic Band,
Bootsy's Rubber Band,
Richard Hell and the Voidoids,
John Coltrane,
Jeff Mills,
Jesper Dahlback,
The Martian,
Crime,
Fugazi,
The Chocolate Watch Band,
Curtis Mayfield,
Ash Ra Tempel,
Morten Harket,
Bizarre Inc.,
Echo & the Bunnymen,
The Cosmic Jokers,
Little Man,
Lucky Dragons,
Lou Reed & John Cale,
Kayak,
Idris Muhammad,
Marc Romboy vs. Booka Shade,
Fear,
The Skatalites,
Siglo XX,
Hasil Adkins,
The Sisters of Mercy,
Maurizio,
David Axelrod,
Juan Atkins,
The Techniques,
Mars,
Cecil Taylor,
Grandmaster Flash,
Drive Like Jehu,
Blancmange,
Dawn Penn,
Man Parrish,
Duran Duran,
The Knickerbockers,
June of 44,
Sarah Menescal,
Moebius, Moebius, Moebius, Moebius.
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.