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 Equatorial Guinea and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Seoul and Calgary.
I'm losing my edge to the art-school New York 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Roxette to the techno 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 Junior Murvin. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Sad Lovers and Giants 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 '80s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Rufus Thomas,
Sunsets and Hearts,
Crooked Eye,
Avey Tare,
Maurizio,
Au Pairs,
Motorama,
Chris Corsano,
Crash Course in Science,
The Walker Brothers,
Quantec,
Cymande,
Marc Almond,
Marvin Gaye,
Pylon,
Wighnomy Brothers & Robag Wruhme,
Procol Harum,
The Smoke,
The Vogues,
X-102,
Notorious BIG live in Amsterdam,
Interpol,
The Fire Engines,
Delon & Dalcan,
Vladislav Delay,
The West Coast Pop Art Experimental Band,
X-101,
Intrusion,
Brand Nubian,
Jesper Dahlbäck,
Yaz,
Radiohead,
U.S. Maple,
Roy Ayers,
Skarface,
Fatback Band,
Clear Light,
Lakeside,
Jacques Brel,
The Music Machine,
Bill Wells,
E-Dancer,
Man Parrish,
a-ha,
Ossler,
ABC,
Matthew Bourne,
Lower 48,
Röyhkä ja Rättö ja Lehtisalo,
Strawberry Alarm Clock,
Terror Squad Feat. Camron,
The Names,
The Skatalites,
Notorious Big And Bone Thugs,
Red Lorry Yellow Lorry,
Sixth Finger,
Thee Headcoats,
the Soft Cell,
Robert Wyatt,
Crime,
Harry Pussy,
Tubeway Army,
Can,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.