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 Turkmenistan and from Shanghai.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Woodstock.
I'm losing my edge to the art-school Houston 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the rhodes 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 Notorious Big And Bone Thugs to the punk 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 Japan. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Reagan Youth record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
48th St. Collective,
Pylon,
Robert Görl,
Juan Atkins,
David Bowie,
Wally Richardson,
The Names,
Scion,
Tim Buckley,
Eve St. Jones,
Arab on Radar,
These Immortal Souls,
The Pop Group,
The Residents,
AZ,
Barrington Levy,
Ronnie Foster,
Country Teasers,
EPMD,
Bill Wells,
A Flock of Seagulls,
Howard Jones,
Negative Approach,
Kings Of Tomorrow,
The Motions,
Audionom,
Selector Dub Narcotic,
Liliput,
Hashim,
Orchestral Manoeuvres in the Dark,
Lakeside,
Zero Boys,
Yaz,
Pole,
Sandy B,
One Last Wish,
Sam Rivers,
Dorothy Ashby,
Rod Modell,
Cybotron,
R.M.O.,
Amazonics,
Matthew Halsall,
Maurizio,
June Days,
The Evens,
Slave,
Easy Going,
Visionaries,LMNO, T- Love & Iriscience,
Leonard Cohen,
Monks,
New Age Steppers,
Moss Icon,
Ludus,
Minny Pops,
Bang on a Can All-Stars,
Aswad,
Funky Four + One,
The Vogues,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.