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 Afghanistan and from Delhi.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1966 to 1977.
I'm losing my edge.
To all the kids in Tehran and Glasgow.
I'm losing my edge to the art-school Lyon 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the oboe 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 The Young Rascals to the rock kids.
I played it at the 40 Watt.
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 The Gories. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
ABBA,
Lyres,
Con Funk Shun,
London Community Gospel Choir,
Cabaret Voltaire,
Lizzy Mercier Descloux,
Joe Finger,
Gerry Rafferty,
cv313,
Bobby Byrd,
The Jesus and Mary Chain,
Infiniti,
Khruangbin,
A Certain Ratio,
Bluetip,
The Names,
Little Man,
Kaleidoscope,
Bad Manners,
Arthur Verocai,
Sun Ra,
Erasure,
LL Cool J,
Funky Four + One,
The Raincoats,
Delta 5,
The Saints,
Kool G Rap & DJ Polo,
Neu!,
The Durutti Column,
Bronski Beat,
Angry Samoans,
Lebanon Hanover,
Grandmaster Flash,
Althea and Donna,
David McCallum,
The Birthday Party,
Justin Hinds & The Dominoes,
The Real Kids,
Easy Going,
Nik Kershaw,
Ultravox,
Soft Cell,
Ponytail,
Gang Gang Dance,
Marvin Gaye,
Ronnie Foster,
Spoonie Gee,
Monolake,
UT,
The American Breed,
Red Lorry Yellow Lorry,
John Lydon,
The Divine Comedy,
Lou Christie,
Pantytec,
Dark Day,
The Fire Engines,
The Toasters, The Toasters, The Toasters, The Toasters.
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.