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 Trinidad & Tobago and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Accra and Columbus.
I'm losing my edge to the art-school Philadelphia 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the 808 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 Echo & the Bunnymen to the crunk 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 Sonny Sharrock. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Faust 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a DeepChord presents Echospace record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Loose Ends,
Monks,
10cc,
The Fortunes,
London Community Gospel Choir,
Faraquet,
The Remains,
Saccharine Trust,
Oneida,
Piero Umiliani,
Kenny Larkin,
Eric Dolphy,
Urselle,
Scott Walker,
Marc Almond,
Depeche Mode,
The Durutti Column,
Adolescents,
Gang of Four,
Nirvana,
Aural Exciters,
Barclay James Harvest,
Minny Pops,
Gary Puckett & The Union Gap,
Aloha Tigers,
the Normal,
Lalann,
Bauhaus,
The Dead C,
The Neon Judgement,
Moby Grape,
Bang on a Can All-Stars,
Icehouse,
Black Pus,
Robert Wyatt,
Joe Smooth,
Procol Harum,
Graham Central Station,
The Fire Engines,
John Holt,
David McCallum,
Crispian St. Peters,
Monolake,
Harpers Bizarre,
Al Stewart,
Neil Young,
Q and Not U,
The Moody Blues,
Deadbeat,
Sixth Finger,
Kauko Röyhkä ja Narttu,
Marshall Jefferson,
Excepter,
Ajijia Myrayebe,
Gong,
Massinfluence,
Little Man,
Nik Kershaw,
The Five Americans,
The Associates,
FM Einheit,
Gian Franco Pienzio,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.