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 Seychelles and from Accra.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Bremen and Calgary.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 Todd Rundgren to the disco kids.
I played it at CBGB's.
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 China Crisis. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every Gang Gang Dance record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Wings record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Depeche Mode,
Section 25,
The United States of America,
Amazonics,
Danielle Patucci,
Johnny Clarke,
Grandmaster Flash,
Roxette,
Delon & Dalcan,
Pylon,
Orchestral Manoeuvres in the Dark,
Young Marble Giants,
Sad Lovers and Giants,
Gil Scott-Heron and Jamie xx,
Minnie Riperton,
The Searchers,
Bootsy Collins,
Sunsets and Hearts,
The Offenders,
Mandrill,
Animal Collective,
Banda Bassotti,
Bluetip,
Silicon Teens,
Desert Stars,
Maurizio,
Siouxsie and the Banshees,
Lonnie Liston Smith,
Eve St. Jones,
Scratch Acid,
Schoolly D,
Fort Wilson Riot,
Nas,
Saccharine Trust,
Brass Construction,
The Blackbyrds,
Sister Nancy,
James White and The Blacks,
Godley & Creme,
The Doors,
The Gladiators,
Andrew Hill,
Ultimate Spinach,
Dave Gahan,
The Fuzztones,
Joy Division,
The Motions,
Eyeless In Gaza,
Traffic Nightmare,
Vaughan Mason & Crew,
Bush Tetras,
Barrington Levy,
Lower 48,
The Fortunes,
Marshall Jefferson,
The Selecter,
The Remains,
Pagans,
The Birthday Party,
the Soft Cell,
Beasts of Bourbon,
Dark Day, Dark Day, Dark Day, Dark Day.
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.