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 Hungary and from Sao Paulo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1972.
I'm losing my edge.
To all the kids in Glasgow and Hong Kong.
I'm losing my edge to the art-school Tehran 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord 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 The Buckinghams to the dance kids.
I played it at Trash.
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 Flesh Eaters. All the underground hits.
All Camouflage tracks. I heard you have a vinyl of every John Cale 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 a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camouflage,
Lou Reed,
Visage,
Janne Schatter,
a-ha,
Main Source,
Pete Rock & C.L. Smooth,
Howard Jones,
Crash Course in Science,
Nation of Ulysses,
Liliput,
Anakelly,
Roy Ayers Ubiquity,
Kauko Röyhkä ja Narttu,
Pharaoh Sanders and the Fire Engines,
The Trojans,
DNA,
Carl Craig,
Don Cherry,
Kaleidoscope,
Bronski Beat,
Barclay James Harvest,
Rotary Connection,
The Stooges,
Minny Pops,
Matthew Halsall,
Pantytec,
The Count Five,
Louis and Bebe Barron,
Reuben Wilson,
Graham Central Station,
The Toasters,
Manfred Mann's Earth Band,
Gerry Rafferty,
Glenn Branca,
Scan 7,
Niagra,
The Modern Lovers,
Be Bop Deluxe,
Kango’s Stein Massive,
Duran Duran,
Henry Cow,
Kevin Saunderson,
Whodini,
The Pop Group,
Roger Hodgson,
The Birthday Party,
Lightning Bolt,
Thompson Twins,
A Certain Ratio,
The American Breed,
Trumans Water,
Morten Harket,
Erasure,
Yusef Lateef,
Camberwell Now,
Los Fastidios,
Mark Hollis,
The Flesh Eaters,
the Sonics,
Barrington Levy,
Andrew Ashong & Theo Parrish,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.