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 Syria and from Winnipeg.
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 1969 to 1973.
I'm losing my edge.
To all the kids in New York and Mexico City.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the oboe sounds with much patience.
I was there when Nile Rodgers 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 Lucky Dragons to the jazz kids.
I played it at the Spitz.
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 Black Bananas. All the underground hits.
All Yellowson tracks. I heard you have a vinyl of every a-ha record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Aloha Tigers,
Swans,
Camberwell Now,
Electric Prunes,
Connie Case,
Surgeon,
X-102,
Reagan Youth,
The Fuzztones,
Dead Boys,
Yaz,
The Blackbyrds,
Godley & Creme,
Shuggie Otis,
Bang On A Can,
Captain Beefheart & His Magic Band,
Frankie Knuckles,
ABC,
Los Fastidios,
The Kinks,
Spandau Ballet,
Trumans Water,
Unwound,
Gang of Four,
Pagans,
Brass Construction,
The Young Rascals,
Von Mondo,
Essential Logic,
Mad Mike,
The Victims,
The Divine Comedy,
Rod Modell,
Schoolly D,
Gregory Isaacs,
Amazonics,
The Cure,
the Slits,
Animal Collective,
Gian Franco Pienzio,
Wire,
Davy DMX,
Girls At Our Best!,
The Busters,
Aswad,
U.S. Maple,
The Fortunes,
Marshall Jefferson,
Harry Pussy,
Sun City Girls,
The Names,
Bad Manners,
Bootsy Collins,
Scrapy,
John Holt,
Negative Approach,
Absolute Body Control,
the Normal,
Gil Scott-Heron & Brian Jackson,
The Peanut Butter Conspiracy,
Echospace,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.