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 Maldives and from Edmonton.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Toronto.
I'm losing my edge to the art-school Edmonton 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 mellotron 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 Tomorrow to the punk kids.
I played it at Trash.
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 Todd Rundgren. All the underground hits.
All 8 Eyed Spy tracks. I heard you have a vinyl of every Masters at Work 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Spandau Ballet,
The Monks,
Suburban Knight,
Bush Tetras,
The Buckinghams,
Flash Fearless,
Masters at Work,
The Cure,
The Red Krayola,
Sarah Menescal,
Oppenheimer Analysis,
Pere Ubu,
Cameo,
Frankie Knuckles,
The Remains,
Index,
Duran Duran,
Susan Cadogan,
Reuben Wilson,
Michelle Simonal,
Crime,
Grandmaster Flash and the Furious Five,
Skaos,
Jesper Dahlbäck,
Warsaw,
the Soft Cell,
R.M.O.,
Kango’s Stein Massive,
Anthony Braxton,
Bauhaus,
Lalo Schifrin,
Shuggie Otis,
Jandek,
Bizarre Inc.,
the Sonics,
Bobby Hutcherson,
Brand Nubian,
Sam Rivers,
Neil Young & Crazy Horse,
Joensuu 1685,
Country Joe & The Fish,
Althea and Donna,
Excepter,
Chris & Cosey,
Subhumans,
The Wake,
The Gladiators,
Sad Lovers and Giants,
Kings Of Tomorrow,
Blake Baxter,
Jerry's Kids,
Ten City,
Smog,
One Last Wish,
Moby Grape,
Hoover,
The Mighty Diamonds,
Rhythim Is Rhythim,
The Count Five,
Trumans Water,
Newcleus,
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.