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 Barbados and from Jakarta.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1978.
I'm losing my edge.
To all the kids in Copenhagen and Lagos.
I'm losing my edge to the art-school Seoul 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 Susan Cadogan to the funk kids.
I played it at the Troubador.
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 Second Layer. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Bush Tetras record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
MC5,
Nik Kershaw,
Bang on a Can All-Stars,
Tomorrow,
Shuggie Otis,
Bob Dylan,
the Normal,
Bad Manners,
Bluetip,
Moss Icon,
Marcia Griffiths,
Warsaw,
Minnie Riperton,
Minny Pops,
ABBA,
Sparks,
These Immortal Souls,
The Dave Clark Five,
Alton Ellis,
The Real Kids,
The West Coast Pop Art Experimental Band,
Procol Harum,
Wally Richardson,
Roxette,
Fear,
Bobby Hutcherson,
Negative Approach,
Bobby Sherman,
Au Pairs,
Blake Baxter,
Reuben Wilson,
Heaven 17,
Rosa Yemen,
June Days,
Gang Starr,
Rowland S Howard / Lydia Lunch,
Bush Tetras,
Bang On A Can,
Organ,
Archie Shepp,
Deakin,
Selector Dub Narcotic,
Blancmange,
Bronski Beat,
Bobbi Humphrey,
Inner City,
Kenny Larkin,
Flash Fearless,
Kool Moe Dee,
Mark Hollis,
Y Pants,
a-ha,
Minutemen,
Metal Thangz,
Red Lorry Yellow Lorry,
Richard Hell and the Voidoids,
Lebanon Hanover,
Harmonia,
Ohio Players,
Alison Limerick,
Sex Pistols,
The Invisible,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.