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 United Kingdom and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Seoul.
I'm losing my edge to the art-school Stockholm 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 Art of Noise practice in a loft in London.
I was working on the rhodes 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 The Blackbyrds to the electroclash kids.
I played it at the 40 Watt.
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 The Techniques. All the underground hits.
All Can tracks. I heard you have a vinyl of every Brass Construction 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Pantaleimon,
Delta 5,
Quantec,
Erasure,
Dark Day,
Lou Reed,
Ronan,
Moebius,
The Litter,
Mars,
The Real Kids,
Dawn Penn,
X-102,
Strawberry Alarm Clock,
Theoretical Girls,
The Misunderstood,
The Victims,
Kool Moe Dee,
Roy Ayers Ubiquity,
Banda Bassotti,
Main Source,
Unrelated Segments,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Kayak,
London Community Gospel Choir,
Interpol,
Gregory Isaacs,
Wally Richardson,
Lizzy Mercier Descloux,
Justin Hinds & The Dominoes,
X-Ray Spex,
AZ,
Lee Hazlewood,
The Velvet Underground,
Vainqueur,
Kings Of Tomorrow,
Anthony Braxton,
David McCallum,
Freddie Wadling,
Andrew Ashong & Theo Parrish,
Eric B and Rakim,
Minor Threat,
Moby Grape,
Aaron Thompson,
Talk Talk,
Anakelly,
Black Moon,
Hardrive,
Sandy B,
Lyres,
Fela Kuti,
New Order,
Peter Gordon & Love of Life Orchestra,
Faraquet,
Soft Cell,
Electric Light Orchestra,
The Dirtbombs,
The Gap Band,
Chris & Cosey,
Grandmaster Flash,
Mantronix, Mantronix, Mantronix, Mantronix.
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.