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 Afghanistan and from Philadelphia.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1968 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Stockholm.
I'm losing my edge to the art-school Seoul 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the organ 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 CMW to the grime 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 Lou Reed. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every Cybotron 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 '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Sun Ra Arkestra,
Grandmaster Flash,
Talk Talk,
Flash Fearless,
Dark Day,
Black Moon,
Ultravox,
Freddie Wadling,
Little Man,
Ohio Players,
Roger Hodgson,
Soft Machine,
Man Parrish,
Arcadia,
Nas,
Derrick May,
Gil Scott-Heron and Jamie xx,
Banda Bassotti,
Khruangbin,
Peter and Kerry,
Aloha Tigers,
Sam Rivers,
Rekid,
Unrelated Segments,
Fifty Foot Hose,
Eden Ahbez,
the Swans,
Steve Hackett,
Depeche Mode,
Delta 5,
Trumans Water,
The Fugs,
Andrew Ashong & Theo Parrish,
Robert Wyatt,
Bill Near,
Crispian St. Peters,
Eurythmics,
Minny Pops,
Jawbox,
X-101,
The Neon Judgement,
The Gap Band,
The Angels of Light,
Sun Ra,
Peter & Gordon,
Joe Smooth,
Gerry Rafferty,
The Saints,
Be Bop Deluxe,
Anakelly,
Rhythim Is Rhythim,
Radiopuhelimet,
Black Flag,
Althea and Donna,
Rhythm & Sound,
Zapp,
The Dead C,
Röyhkä ja Rättö ja Lehtisalo,
The American Breed,
Tres Demented,
Spandau Ballet,
Jeru the Damaja,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.