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 Sri Lanka and from Taipei.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Copenhagen.
I'm losing my edge to the art-school New York 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the mellotron 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 Monks to the jazz 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 Urselle. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every Skaos 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 '70s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Soft Cell,
Alphaville,
the Human League,
Man Eating Sloth,
New Age Steppers,
The Last Poets,
Model 500,
Deadbeat,
Underground Resistance,
Barbara Tucker,
Glambeats Corp.,
Gabor Szabo,
Minutemen,
Rosa Yemen,
Red Lorry Yellow Lorry,
Von Mondo,
The Count Five,
The Cramps,
Ronan,
Rufus Thomas,
The Blues Magoos,
Kauko Röyhkä ja Narttu,
June Days,
Chris & Cosey,
Soul Sonic Force,
Jerry Gold Smith,
L. Decosne,
Echo & the Bunnymen,
Traffic Nightmare,
the Bar-Kays,
Reagan Youth,
Little Man,
Susan Cadogan,
Idris Muhammad,
Minor Threat,
Ornette Coleman,
Half Japanese,
Roger Hodgson,
Throbbing Gristle,
Oneida,
The Techniques,
Swell Maps,
Chrome,
Toni Rubio,
Thompson Twins,
Barrington Levy,
The Slits,
Roxette,
Gary Puckett & The Union Gap,
Public Image Ltd.,
Liliput,
London Community Gospel Choir,
Richard Hell and the Voidoids,
Robert Görl,
Y Pants,
The Sisters of Mercy,
Darondo,
Altered Images,
The Blackbyrds,
The Flesh Eaters,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.