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 Algeria and from Stockholm.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Lille and Seoul.
I'm losing my edge to the art-school Tokyo 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 rhodes sounds with much patience.
I was there when Holger Czukay 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 Groovy Waters to the dance kids.
I played it at the Spitz.
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 Index. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Maleditus Sound record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sam Rivers,
Soulsonic Force,
Toni Rubio,
Glambeats Corp.,
Moebius,
Funkadelic,
The Neon Judgement,
New York Dolls,
Saccharine Trust,
Kevin Saunderson,
AZ,
Crispy Ambulance,
Echo & the Bunnymen,
Mars,
Gichy Dan,
Black Pus,
Suicide,
Brick,
Unwound,
This Heat,
Eurythmics,
Echospace,
Bizarre Inc.,
The Fuzztones,
Heavy D & The Boyz,
X-Ray Spex,
Chris Corsano,
Pussy Galore,
Electric Light Orchestra,
Eyeless In Gaza,
Monks,
Agitation Free,
The Real Kids,
Wasted Youth,
Joe Smooth,
Arcadia,
Junior Murvin,
Siglo XX,
Pagans,
The Black Dice,
Bobbi Humphrey,
Crispian St. Peters,
The Dave Clark Five,
Joyce Sims,
Circle Jerks,
Super Lover Cee & Casanova Rud,
Notorious BIG live in Amsterdam,
The Gap Band,
Mo-Dettes,
The Walker Brothers,
Main Source,
Orchestral Manoeuvres in the Dark,
Zapp,
Kaleidoscope,
Ludus,
E-Dancer,
Freddie Wadling,
The Zeros,
D'Angelo,
Black Bananas,
Janne Schatter,
Motorama, Motorama, Motorama, Motorama.
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.