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 Ireland and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1975.
I'm losing my edge.
To all the kids in Stockholm and Philadelphia.
I'm losing my edge to the art-school Accra 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 synthesizer 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 Eli Mardock to the techno kids.
I played it at Cafe Wha.
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 Louis and Bebe Barron. All the underground hits.
All Lightning Bolt tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Tubeway Army record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
The Associates,
Q and Not U,
Girls At Our Best!,
Buzzcocks,
Excepter,
DJ Sneak,
The Alarm Clocks,
Bizarre Inc.,
Babytalk,
Heaven 17,
K-Klass,
Aswad,
Swell Maps,
The Monochrome Set,
This Heat,
The Knickerbockers,
Notorious Big And Bone Thugs,
B.T. Express,
R.M.O.,
Nirvana,
Masters at Work,
Joensuu 1685,
Bill Near,
Don Cherry,
Clear Light,
Todd Rundgren,
Tears for Fears,
Derrick May,
Sun City Girls,
Cybotron,
Nico,
Donny Hathaway,
The Motions,
Max Romeo,
Sex Pistols,
Slick Rick,
Harpers Bizarre,
Peter Gordon & Love of Life Orchestra,
Interpol,
Isaac Hayes,
Josef K,
Sight & Sound,
Parry Music,
Boogie Down Productions,
Hardrive,
Rotary Connection,
the Germs,
Bush Tetras,
Ralphi Rosario,
Essential Logic,
Monolake,
the Association,
John Cale,
Gong,
Dr. Dre and Snoop Doggy Dog,
Crash Course in Science,
James Chance & The Contortions,
Lalo Schifrin,
The Victims,
Erykah Badu,
Deakin,
Yellowson,
Section 25, Section 25, Section 25, Section 25.
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.