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 Iran and from Shanghai.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1972.
I'm losing my edge.
To all the kids in Manchester and Philadelphia.
I'm losing my edge to the art-school Mexico City 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Sad Lovers and Giants to the punk 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 Suburban Knight. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your guitar and bought a 808.
I hear that you and your band have sold your 808 and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fela Kuti,
Amazonics,
Pharaoh Sanders and the Fire Engines,
Yazoo,
Ultravox,
David Axelrod,
Matthew Halsall,
Scan 7,
Gerry Rafferty,
Anthony Braxton,
Monolake,
Radio Birdman,
The Young Rascals,
Tears for Fears,
In Retrospect,
Avey Tare & Kría Brekkan,
Pantytec,
Pierre Henry,
Jeff Lynne,
Young Marble Giants,
Danielle Patucci,
PIL,
The Star Department,
Ossler,
Wally Richardson,
James Chance & The Contortions,
Stetsasonic,
Bobby Hutcherson,
The Leaves,
Parry Music,
Man Parrish,
Flamin' Groovies,
Wolf Eyes,
June Days,
Eddi Front,
Harry Pussy,
Khruangbin,
Section 25,
Godley & Creme,
Subhumans,
John Coltrane,
Colin Newman,
Grandmaster Flash,
Absolute Body Control,
Ohio Players,
DeepChord presents Echospace,
Al Stewart,
Icehouse,
Warren Ellis,
Maleditus Sound,
Lou Reed & Metallica,
Motorama,
Roxette,
Pet Shop Boys,
Todd Rundgren,
Trumans Water,
Agent Orange,
The Real Kids,
Sparks,
Heaven 17,
Lafayette Afro Rock Band,
Cabaret Voltaire,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.