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 Armenia and from Bremen.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Spokane and Sao Paulo.
I'm losing my edge to the art-school Bologna 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the oboe 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 Deepchord to the rock kids.
I played it at the Astoria.
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 Porter Ricks. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish 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 '70s cut and another box set from the '70s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Swell Maps record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Tim Buckley,
The Smoke,
Max Romeo,
Hasil Adkins,
The American Breed,
MC5,
Curtis Mayfield,
Oblivians,
Wighnomy Brothers & Robag Wruhme,
New York Dolls,
Peter & Gordon,
Robert Hood,
Nils Olav,
Neu!,
Rapeman,
Sam Rivers,
Dawn Penn,
Dennis Brown,
Tommy Roe,
The Velvet Underground,
Funky Four + One,
The Stooges,
Godley & Creme,
Radiohead,
the Sonics,
Gil Scott-Heron and Jamie xx,
Rowland S Howard / Lydia Lunch,
Urselle,
Qualms,
Niagra,
The Birthday Party,
Marine Girls,
Aaron Thompson,
Gregory Isaacs,
Slave,
Marshall Jefferson,
Cabaret Voltaire,
Sly & The Family Stone,
Maurizio,
Zero Boys,
David McCallum,
Metal Thangz,
CMW,
Steve Hackett,
Model 500,
Byron Stingily,
The Tremeloes,
The Five Americans,
Barry Ungar,
Crash Course in Science,
EPMD,
Kool Moe Dee,
The Techniques,
Hot Snakes,
Fela Kuti,
Boredoms,
Black Flag,
Leonard Cohen,
The Mighty Diamonds,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.