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 Nigeria and from Winnipeg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Beijing and Mexico City.
I'm losing my edge to the art-school Salvador 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the harpsichord 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 Scrapy to the dance kids.
I played it at the Hacienda.
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 Gary Puckett & The Union Gap. All the underground hits.
All Yellowson tracks. I heard you have a vinyl of every Barry Ungar record on German import.
I heard that you have a white label of every seminal dance 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 mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Kevin Saunderson,
Yazoo,
Notorious Big And Bone Thugs,
Art Ensemble Of Chicago,
Dual Sessions,
Franke,
Nirvana,
Icehouse,
Louis and Bebe Barron,
Bootsy's Rubber Band,
Eden Ahbez,
Little Man,
Soft Machine,
Royal Trux,
Agent Orange,
Television Personalities,
The Real Kids,
Monks,
Stetsasonic,
Desert Stars,
Stiv Bators,
Ultravox,
Max Romeo,
Black Moon,
Rotary Connection,
Gong,
Hasil Adkins,
Con Funk Shun,
The Peanut Butter Conspiracy,
Morten Harket,
Rosa Yemen,
Thinking Fellers Union Local 282,
Marmalade,
Tom Boy,
The New Christs,
Motorama,
Electric Light Orchestra,
Jesper Dahlbäck,
Nils Olav,
Graham Central Station,
Quadrant,
Eurythmics,
the Bar-Kays,
Tomorrow,
Skaos,
Blossom Toes,
The Seeds,
Vaughan Mason & Crew,
Au Pairs,
Warren Ellis,
Bill Near,
Sly & The Family Stone,
Brass Construction,
Larry & the Blue Notes,
Lindisfarne,
Pantytec,
Barrington Levy,
Saccharine Trust,
The Red Krayola,
Eric Dolphy, Eric Dolphy, Eric Dolphy, Eric Dolphy.
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.