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 Colombia and from Mexico City.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Manila and Calgary.
I'm losing my edge to the art-school Lyon 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 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 Eurythmics to the grunge 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 The Men They Couldn't Hang. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Radio Birdman record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
Crash Course in Science,
Spandau Ballet,
the Slits,
Reagan Youth,
Rhythim Is Rhythim,
Steve Hackett,
Sticky Fingaz feat. Raekwon,
R.M.O.,
The Jesus and Mary Chain,
June of 44,
Average White Band,
Young Marble Giants,
Country Teasers,
The Techniques,
Bob Dylan,
Girls At Our Best!,
Adolescents,
Radio Birdman,
Graham Central Station,
Oppenheimer Analysis,
Little Man,
Freddie Wadling,
LL Cool J,
Sam Rivers,
Mantronix,
The Beau Brummels,
Eric Dolphy,
B.T. Express,
The Moleskins,
Boz Scaggs,
Soulsonic Force,
Ossler,
Eddi Front,
Public Image Ltd.,
Matthew Halsall,
Dark Day,
Glenn Branca,
Icehouse,
Black Sheep,
Television,
Eurythmics,
Howard Jones,
The Standells,
The Gladiators,
Janne Schatter,
The Blues Magoos,
The Toasters,
Maurizio,
Tropical Tobacco,
The Slackers,
The Gun Club,
Arab on Radar,
Oneida,
Darondo,
These Immortal Souls,
Mars,
Half Japanese,
Essential Logic,
Bootsy's Rubber Band,
Isaac Hayes,
The Doobie Brothers,
The Last Poets,
Interpol, Interpol, Interpol, Interpol.
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.