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 Algeria and from Portland.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Seoul and Mumbai.
I'm losing my edge to the art-school Accra 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Cymande to the grunge kids.
I played it at the Spitz.
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 Unrelated Segments. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every Gian Franco Pienzio record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Eddi Front record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DeepChord presents Echospace,
Minnie Riperton,
Newcleus,
Skarface,
Gastr Del Sol,
Blossom Toes,
The Seeds,
Kayak,
Deepchord,
Eric B and Rakim,
Loose Ends,
Duran Duran,
A Certain Ratio,
Toni Rubio,
Avey Tare & Kría Brekkan,
The Vogues,
Brick,
Pulsallama,
Crime,
The Toasters,
Sandy B,
Amon Düül II,
Fort Wilson Riot,
Warsaw,
Pylon,
Lower 48,
Byron Stingily,
Junior Murvin,
The Golliwogs,
Derrick Morgan,
Robert Wyatt,
Grauzone,
Jacques Brel,
Archie Shepp,
The Index,
Hoover,
Intrusion,
London Community Gospel Choir,
Gerry Rafferty,
Lebanon Hanover,
John Coltrane,
Marc Almond,
Art Ensemble Of Chicago,
Be Bop Deluxe,
Underground Resistance,
Funky Four + One,
Howard Jones,
One Last Wish,
Stockholm Monsters,
New York Dolls,
Nation of Ulysses,
Gary Puckett & The Union Gap,
Bang On A Can,
Crispian St. Peters,
Animal Collective,
Rakim,
Super Lover Cee & Casanova Rud,
The Remains,
Jeff Lynne,
The Black Dice,
Talk Talk,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.