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 Chile and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1976.
I'm losing my edge.
To all the kids in Accra and Madrid.
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 at the first Suicide practice in a loft in New York.
I was working on the harpsichord 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 Marcia Griffiths to the crunk kids.
I played it at the Hacienda.
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 Joe Finger. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every FM Einheit 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
James Chance & The Contortions,
Theoretical Girls,
Adolescents,
48th St. Collective,
Spandau Ballet,
Gary Puckett & The Union Gap,
Jawbox,
the Sonics,
Jeff Mills,
Moby Grape,
Sugar Minott,
Dave Gahan,
Boz Scaggs,
Pole,
One Last Wish,
Eli Mardock,
Rites of Spring,
The Searchers,
Juan Atkins,
The Invisible,
Pharaoh Sanders and the Fire Engines,
This Heat,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Kinks,
Intrusion,
Brass Construction,
Terrestrial Tones,
Notorious Big And Bone Thugs,
The Fugs,
The Pop Group,
Skaos,
Moebius,
Eddi Front,
Archie Shepp,
Goldenarms,
Freddie Wadling,
T.S.O.L.,
The Leaves,
Lou Reed,
Joyce Sims,
Amon Düül II,
Sam Rivers,
Beasts of Bourbon,
The Move,
Larry & the Blue Notes,
Barry Ungar,
The Names,
Nik Kershaw,
Robert Hood,
The Alarm Clocks,
Jacques Brel,
The Mojo Men,
Gabor Szabo,
Black Bananas,
The Gladiators,
Dual Sessions,
Godley & Creme,
Matthew Bourne,
Oppenheimer Analysis,
Second Layer,
Dennis Brown,
Vainqueur,
Kerrie Biddell,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.