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 Calgary.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1976.
I'm losing my edge.
To all the kids in Taipei and Sao Paulo.
I'm losing my edge to the art-school Milan 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 The Count Five to the jazz 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 Marine Girls. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Thompson Twins 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 '50s cut and another box set from the '80s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mojo Men,
Flash Fearless,
Tim Buckley,
Marc Almond,
Tears for Fears,
Mr. Review,
Roy Ayers,
The Buckinghams,
Whodini,
Delta 5,
Fear,
Lou Christie,
Funkadelic,
Albert Ayler,
Bobbi Humphrey,
Warren Ellis,
Intrusion,
Rakim,
Freddie Wadling,
Sällskapet,
Ajijia Myrayebe,
The Knickerbockers,
Curtis Mayfield,
U.S. Maple,
Throbbing Gristle,
Ken Boothe,
Art Ensemble Of Chicago,
Trumans Water,
The Red Krayola,
Ronnie Foster,
Warsaw,
X-102,
London Community Gospel Choir,
The Moleskins,
The Jesus and Mary Chain,
Popol Vuh,
ABBA,
Bobby Sherman,
Blake Baxter,
The Royal Family And The Poor,
Marine Girls,
Röyhkä ja Rättö ja Lehtisalo,
Slave,
Kings Of Tomorrow,
Lightning Bolt,
Saccharine Trust,
Adolescents,
Roxy Music,
Talk Talk,
Morten Harket,
Radiopuhelimet,
Ice-T,
John Coltrane,
Absolute Body Control,
La Düsseldorf,
the Bar-Kays,
De La Soul & Jungle Brothers,
Sparks,
Oppenheimer Analysis,
Slick Rick,
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.