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 Mongolia and from Accra.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1961 to 1978.
I'm losing my edge.
To all the kids in London and Portland.
I'm losing my edge to the art-school Toronto 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the harpsichord 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 Aural Exciters to the rap 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 Association. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Blancmange 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 '90s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
La Düsseldorf,
Bill Wells,
Cluster,
T.S.O.L.,
Soul Sonic Force,
Alison Limerick,
Gong,
The Jesus and Mary Chain,
Brick,
Selector Dub Narcotic,
Steve Hackett,
T. Rex,
Thinking Fellers Union Local 282,
Eurythmics,
David Axelrod,
Barrington Levy,
Oppenheimer Analysis,
Lyres,
The Fugs,
Nico,
The United States of America,
Index,
L. Decosne,
Deakin,
Manfred Mann's Earth Band,
Jeff Mills,
Andrew Hill,
Vaughan Mason & Crew,
The Trojans,
The Music Machine,
Tropical Tobacco,
Moss Icon,
Davy DMX,
The Moody Blues,
Television,
Ultimate Spinach,
Soft Machine,
Sparks,
Tim Buckley,
Pantaleimon,
Michelle Simonal,
Funkadelic,
Blossom Toes,
Soul II Soul,
Cymande,
Yusef Lateef,
the Swans,
Quando Quango,
Flash Fearless,
Electric Light Orchestra,
Fluxion,
The J.B.'s,
Smog,
Camberwell Now,
Liaisons Dangereuses,
Make Up,
Jeff Lynne,
Monks,
Be Bop Deluxe,
Can, Can, Can, Can.
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.