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 Halifax.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1977.
I'm losing my edge.
To all the kids in Copenhagen and Tokyo.
I'm losing my edge to the art-school Mexico City 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 Danielle Patucci to the rap kids.
I played it at the Roxy.
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 Harry Pussy. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every Harpers Bizarre 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Wasted Youth record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Major Organ And The Adding Machine,
Joe Finger,
Jacob Miller,
The Neon Judgement,
Brass Construction,
The Cowsills,
Nick Fraelich,
Dave Gahan,
Scientists,
John Lydon,
Pharaoh Sanders and the Fire Engines,
Rites of Spring,
Model 500,
CMW,
Nils Olav,
The Techniques,
Gil Scott Heron,
Sarah Menescal,
Bobbi Humphrey,
Brick,
Inner City,
Siouxsie and the Banshees,
David Axelrod,
Piero Umiliani,
Lalo Schifrin,
The Chocolate Watch Band,
Lyres,
Bronski Beat,
Moebius,
Cameo,
Eric Dolphy,
Hoover,
Morten Harket,
Eurythmics,
Aural Exciters,
Peter and Kerry,
DeepChord presents Echospace,
Groovy Waters,
The Skatalites,
The Shadows of Knight,
Dual Sessions,
Black Moon,
Kayak,
Flamin' Groovies,
The Alarm Clocks,
E-Dancer,
Crispian St. Peters,
Al Stewart,
The Five Americans,
The Invisible,
Crime,
Chris & Cosey,
Jeru the Damaja,
X-101,
Glambeats Corp.,
Bob Dylan,
Lakeside,
Nik Kershaw,
Max Romeo,
Essential Logic,
Erasure, Erasure, Erasure, Erasure.
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.