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 Paraguay and from Manila.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1976.
I'm losing my edge.
To all the kids in Philadelphia and Taipei.
I'm losing my edge to the art-school Shanghai 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 spring reverb 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 Guru Guru to the grime 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 Metal Thangz. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every Boz Scaggs record on German import.
I heard that you have a white label of every seminal rock 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 a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
The Evens,
Theoretical Girls,
Oppenheimer Analysis,
The Chocolate Watch Band,
Make Up,
The Fall,
Bootsy Collins,
Das Ding,
The Beau Brummels,
The West Coast Pop Art Experimental Band,
U.S. Maple,
Intrusion,
Kool Moe Dee,
Marc Almond,
X-Ray Spex,
Howard Jones,
Gil Scott Heron,
Ash Ra Tempel,
Eurythmics,
Michelle Simonal,
The Selecter,
Sly & The Family Stone,
Bootsy's Rubber Band,
Crime,
Albert Ayler,
Ultravox,
the Soft Cell,
Avey Tare & Kría Brekkan,
D'Angelo,
Nas,
In Retrospect,
Junior Murvin,
Liaisons Dangereuses,
Glenn Branca,
Delon & Dalcan,
The Moleskins,
The Wake,
The Buckinghams,
Gregory Isaacs,
Grey Daturas,
Pere Ubu,
The Alarm Clocks,
La Düsseldorf,
Bronski Beat,
Subhumans,
The Residents,
Panda Bear,
Scratch Acid,
Popol Vuh,
The Sound,
Skaos,
The Flesh Eaters,
Aaron Thompson,
Lou Christie,
Scott Walker + Sunn O))),
F. McDonald,
AZ,
Morten Harket,
Sight & Sound,
Janne Schatter,
Barry Ungar,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.