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 Ireland and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1973.
I'm losing my edge.
To all the kids in New York and Jakarta.
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 Art of Noise 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 8 Eyed Spy to the techno kids.
I played it at the Troubador.
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 Interpol. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal punk 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 organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Jacques Brel,
Ohio Players,
John Holt,
48th St. Collective,
The Techniques,
Slave,
Barry Ungar,
Joensuu 1685,
Gichy Dan,
The Golliwogs,
The Standells,
The Misunderstood,
Red Lorry Yellow Lorry,
Major Organ And The Adding Machine,
Godley & Creme,
Gary Puckett & The Union Gap,
Delta 5,
a-ha,
The Fire Engines,
Pagans,
The Cowsills,
Matthew Halsall,
The Sound,
Nick Cave & The Bad Seeds,
Frankie Knuckles,
Magma,
Deutsch Amerikanische Freundschaft,
Alton Ellis,
The Happenings,
Toni Rubio,
The Selecter,
Wally Richardson,
The J.B.'s,
The Gun Club,
Sandy B,
Rosa Yemen,
Von Mondo,
Maurizio,
Gerry Rafferty,
The Grass Roots,
Make Up,
Roxette,
Avey Tare,
Gian Franco Pienzio,
Suburban Knight,
Rekid,
DeepChord presents Echospace,
Wolf Eyes,
Intrusion,
Tres Demented,
The Red Krayola,
De La Soul & Jungle Brothers,
Kayak,
Rakim,
DJ Sneak,
The Flesh Eaters,
Arcadia,
Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson.
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.