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 Barbados and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1979.
I'm losing my edge.
To all the kids in Glasgow and Bremen.
I'm losing my edge to the art-school Manila 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the rhodes 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 Peter Gordon & Love of Life Orchestra to the punk kids.
I played it at the 40 Watt.
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 The Fortunes. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every Angry Samoans 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 '80s cut and another box set from the '80s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
The J.B.'s,
Sun Ra,
Massinfluence,
Mo-Dettes,
The Star Department,
Jawbox,
Sticky Fingaz feat. Raekwon,
Jimmy McGriff,
Depeche Mode,
Bang on a Can All-Stars,
David Bowie,
The Names,
Sad Lovers and Giants,
Dark Day,
Country Joe & The Fish,
Brothers Johnson,
Talk Talk,
The Tremeloes,
Thee Headcoats,
E-Dancer,
Heaven 17,
Ajijia Myrayebe,
The Sound,
Ultimate Spinach,
Porter Ricks,
Graham Central Station,
Chrome,
Albert Ayler,
The Martian,
Juan Atkins,
Mandrill,
Oneida,
Young Marble Giants,
The Selecter,
Angels of Light & Akron/Family,
Nik Kershaw,
Desert Stars,
Moss Icon,
Kango’s Stein Massive,
Slave,
Mad Mike,
Cabaret Voltaire,
Smog,
Sarah Menescal,
Nirvana,
L. Decosne,
Parry Music,
The Vogues,
Fat Boys,
Gregory Isaacs,
Selector Dub Narcotic,
A Flock of Seagulls,
Crispian St. Peters,
Zero Boys,
the Bar-Kays,
Bill Near,
Bobby Womack,
Livin' Joy,
Electric Light Orchestra,
Dave Gahan,
Basic Channel,
Harpers Bizarre,
UT, UT, UT, UT.
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.