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 Turkey and from Tehran.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Lyon and Tokyo.
I'm losing my edge to the art-school Jakarta 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the organ 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 Average White Band to the techno kids.
I played it at the Roxy.
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 Pere Ubu. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Amon Düül II 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 '60s cut and another box set from the '80s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Warsaw,
Sarah Menescal,
Moebius,
Howard Jones,
Darondo,
Roxy Music,
Lou Reed & Metallica,
The Gap Band,
Avey Tare's Slasher Flicks,
A Certain Ratio,
E-Dancer,
Cheater Slicks,
Model 500,
The Sisters of Mercy,
The Toasters,
Lafayette Afro Rock Band,
Ornette Coleman,
Malaria!,
Dual Sessions,
Scan 7,
Girls At Our Best!,
The Moleskins,
Eyeless In Gaza,
The Royal Family And The Poor,
Loose Ends,
Erasure,
Dark Day,
The Peanut Butter Conspiracy,
MC5,
Babytalk,
The Dead C,
Animal Collective,
Dave Gahan,
De La Soul & Jungle Brothers,
Guru Guru,
Duran Duran,
Aural Exciters,
Gregory Isaacs,
Soft Machine,
Kenny Larkin,
Visage,
Motorama,
The Motions,
Vladislav Delay,
Bobby Byrd,
Rowland S Howard / Lydia Lunch,
Bang On A Can,
Stereo Dub,
Porter Ricks,
Angry Samoans,
DeepChord presents Echospace,
Eve St. Jones,
Hashim,
The Wake,
Connie Case,
Todd Terry,
Dorothy Ashby,
Wasted Youth,
Alphaville,
Jeff Lynne,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.