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 Dominican Republic and from Seoul.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1964 to 1973.
I'm losing my edge.
To all the kids in Edmonton and Manila.
I'm losing my edge to the art-school Glasgow 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the organ 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 Section 25 to the dance 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 Jeff Lynne. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Talk Talk record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kayak,
La Düsseldorf,
Visage,
Eric B and Rakim,
Josef K,
the Normal,
Gregory Isaacs,
48th St. Collective,
Sonic Youth,
The Litter,
Eyeless In Gaza,
Fifty Foot Hose,
The Offenders,
The Chocolate Watch Band,
Girls At Our Best!,
Flipper,
Trumans Water,
Pagans,
John Holt,
Davy DMX,
The Music Machine,
Kool Moe Dee,
The Gun Club,
Manfred Mann's Earth Band,
Thinking Fellers Union Local 282,
Flash Fearless,
Vladislav Delay,
Robert Hood,
Derrick Morgan,
Suburban Knight,
Can,
The Sisters of Mercy,
Ohio Players,
James Chance & The Contortions,
Tubeway Army,
Be Bop Deluxe,
The Durutti Column,
Delta 5,
Tim Buckley,
Blake Baxter,
The Dirtbombs,
Camouflage,
The Doors,
Rakim,
Pierre Henry,
Soul II Soul,
Black Pus,
Excepter,
Laurel Aitken,
Jandek,
Eurythmics,
the Human League,
Lee Hazlewood,
Orchestral Manoeuvres in the Dark,
Swans,
Carl Craig,
Albert Ayler,
DJ Style,
Boredoms,
Dorothy Ashby,
Procol Harum,
Agent Orange,
10cc, 10cc, 10cc, 10cc.
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.