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 Australia and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Philadelphia.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Soft Cell to the grime 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 Malaria!. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Eve St. Jones,
Television,
Jacob Miller,
The Count Five,
Jeff Lynne,
Roxette,
U.S. Maple,
Con Funk Shun,
The Monochrome Set,
MDC,
Cheater Slicks,
Moss Icon,
Audionom,
EPMD,
Warsaw,
Liaisons Dangereuses,
Darondo,
It's A Beautiful Day,
Make Up,
Ludus,
Fad Gadget,
Q and Not U,
Janne Schatter,
Rakim,
Scrapy,
DeepChord presents Echospace,
Soft Machine,
Porter Ricks,
Wally Richardson,
The Searchers,
Boz Scaggs,
Masters at Work,
Marc Romboy vs. Booka Shade,
Curtis Mayfield,
Scratch Acid,
Tommy Roe,
Qualms,
Eden Ahbez,
Underground Resistance,
Michelle Simonal,
The Sonics,
Kerrie Biddell,
The Trojans,
the Human League,
Agitation Free,
Terry Callier,
The Knickerbockers,
Von Mondo,
Blossom Toes,
Rhythim Is Rhythim,
James White and The Blacks,
The Barracudas,
Peter and Kerry,
CMW,
The Slackers,
Henry Cow,
Unrelated Segments,
Silicon Teens,
The Smiths,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.