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 Kyrgyzstan 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 1973.
I'm losing my edge.
To all the kids in Portland and Hong Kong.
I'm losing my edge to the art-school Delhi 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 808 sounds with much patience.
I was there when Lou Reed 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 Al Stewart to the techno kids.
I played it at the Astoria.
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 DJ Sneak. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every Erasure record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Five Americans,
Beasts of Bourbon,
EPMD,
Rosa Yemen,
Juan Atkins,
Marcia Griffiths,
Avey Tare,
Kango’s Stein Massive,
Simply Red,
Rakim,
Neu!,
Man Parrish,
Terrestrial Tones,
Joe Finger,
The Slackers,
Fela Kuti,
Super Lover Cee & Casanova Rud,
Be Bop Deluxe,
Thee Headcoats,
Deadbeat,
Darondo,
Index,
Piero Umiliani,
Sad Lovers and Giants,
Sound Behaviour,
Gichy Dan,
Electric Light Orchestra,
Gerry Rafferty,
Barry Ungar,
Morten Harket,
Mark Hollis,
Country Joe & The Fish,
Radio Birdman,
June of 44,
Young Marble Giants,
Johnny Osbourne,
Mandrill,
Dark Day,
Arcadia,
Can,
Fad Gadget,
Motorama,
Rites of Spring,
Radiopuhelimet,
Funkadelic,
This Heat,
Newcleus,
Monks,
Red Lorry Yellow Lorry,
John Cale,
Letta Mbulu,
Brothers Johnson,
Franke,
The Martian,
UT,
Quantec,
Slave,
The Electric Prunes,
The Gun Club,
The Searchers,
Janne Schatter,
Negative Approach,
Donald Byrd,
a-ha, a-ha, a-ha, a-ha.
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.