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 Tunisia and from Copenhagen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1977.
I'm losing my edge.
To all the kids in Glasgow and Philadelphia.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the rhodes sounds with much patience.
I was there when David Bowie 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 Al Stewart to the grunge 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 Marvin Gaye. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Scientists record on German import.
I heard that you have a white label of every seminal electroclash 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Clear Light,
Peter & Gordon,
Bootsy Collins,
Kool G Rap & DJ Polo,
cv313,
Mary Jane Girls,
Bootsy's Rubber Band,
Peter Gordon & Love of Life Orchestra,
The Offenders,
Thee Headcoats,
The Beau Brummels,
Rakim,
Smog,
Nirvana,
Vladislav Delay,
Fort Wilson Riot,
Sly & The Family Stone,
Bush Tetras,
Pharoah Sanders,
Throbbing Gristle,
New York Dolls,
The American Breed,
DJ Style,
June of 44,
Danielle Patucci,
Theoretical Girls,
Lucky Dragons,
Sexual Harrassment,
The Index,
Stockholm Monsters,
Sam Rivers,
Suicide,
The Dave Clark Five,
Joyce Sims,
Arab on Radar,
Fela Kuti,
Ralphi Rosario,
Aloha Tigers,
Roxette,
Rotary Connection,
The Shadows of Knight,
Minnie Riperton,
Jerry's Kids,
the Human League,
Ajijia Myrayebe,
Barbara Tucker,
Gastr Del Sol,
Mandrill,
Yellowson,
Soft Cell,
Soul II Soul,
Can,
Sex Pistols,
Gabor Szabo,
Art Ensemble Of Chicago,
kango's stein massive,
Angels of Light & Akron/Family,
Interpol,
Kango’s Stein Massive,
Urselle,
Ronan,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.