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 Greece and from Houston.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Mexico City.
I'm losing my edge to the art-school Edmonton 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron 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 Suburban Knight 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 UT. All the underground hits.
All Drive Like Jehu tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
Bobbi Humphrey,
Kool Moe Dee,
the Association,
Tres Demented,
Half Japanese,
Cluster,
Spoonie Gee,
Bad Manners,
Sandy B,
The Buckinghams,
John Coltrane,
Underground Resistance,
Rhythm & Sound,
Swell Maps,
Khruangbin,
Letta Mbulu,
Marc Romboy vs. Booka Shade,
Minor Threat,
Peter Gordon & Love of Life Orchestra,
the Germs,
Flipper,
Crispy Ambulance,
Easy Going,
The New Christs,
Tom Boy,
Pylon,
Bang on a Can All-Stars,
Girls At Our Best!,
Prince Buster,
The Alarm Clocks,
Kool G Rap & DJ Polo,
Duran Duran,
Michelle Simonal,
Crime,
Dennis Brown,
The Pop Group,
Nils Olav,
The Misunderstood,
Reuben Wilson,
ABBA,
Eve St. Jones,
Ronan,
Hasil Adkins,
The Dead C,
The Last Poets,
Angry Samoans,
Oneida,
Selector Dub Narcotic,
The West Coast Pop Art Experimental Band,
Archie Shepp,
the Human League,
Metal Thangz,
Absolute Body Control,
The Cosmic Jokers,
Oblivians,
These Immortal Souls,
Kaleidoscope,
Tim Buckley,
Eli Mardock,
Parry Music,
Audionom,
Pierre Henry,
The Evens, The Evens, The Evens, The Evens.
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.