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 Philippines and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Tehran.
I'm losing my edge to the art-school Taipei 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 Holger Czukay 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 Popol Vuh to the dance kids.
I played it at CBGB's.
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 Searchers. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Derrick Morgan 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Soulsonic Force record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
The Alarm Clocks,
Mo-Dettes,
Marc Romboy vs. Booka Shade,
Roger Hodgson,
Delon & Dalcan,
Essential Logic,
Gastr Del Sol,
The Zeros,
The Blues Magoos,
A Flock of Seagulls,
David McCallum,
Motorama,
Avey Tare & Kría Brekkan,
The Cure,
Wighnomy Brothers & Robag Wruhme,
Porter Ricks,
Monolake,
Marshall Jefferson,
The Detroit Cobras,
Mark Hollis,
Guru Guru,
Tears for Fears,
Agitation Free,
Marine Girls,
John Cale,
Cymande,
Ten City,
Leonard Cohen,
Lyres,
Black Sheep,
Jandek,
The Mummies,
Angels of Light & Akron/Family,
Derrick Morgan,
Pulsallama,
Judy Mowatt,
The Associates,
Masters at Work,
Brass Construction,
Strawberry Alarm Clock,
Fear,
the Normal,
Kool G Rap & DJ Polo,
ABBA,
The Martian,
Dual Sessions,
Cameo,
Kenny Larkin,
Big Daddy Kane,
Darondo,
Mad Mike,
The Count Five,
T. Rex,
Ronan,
Gang Green,
Sound Behaviour,
the Human League,
D'Angelo,
Cabaret Voltaire,
Orchestral Manoeuvres in the Dark,
Lalann, Lalann, Lalann, Lalann.
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.