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 Uruguay and from Halifax.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Stockholm and London.
I'm losing my edge to the art-school Edmonton 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 Lou Reed 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 Joyce Sims to the disco kids.
I played it at Trash.
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 Barracudas. All the underground hits.
All Boz Scaggs tracks. I heard you have a vinyl of every Eric Copeland record on German import.
I heard that you have a white label of every seminal rock 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 güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Guru Guru,
the Germs,
Zapp,
Ultramagnetic MC's,
A Flock of Seagulls,
Lou Reed,
Lafayette Afro Rock Band,
Moby Grape,
Robert Görl,
Malaria!,
Brand Nubian,
The Doors,
Art Ensemble Of Chicago,
The Names,
Fear,
The Barracudas,
Magazine,
Ludus,
Eurythmics,
The Jesus and Mary Chain,
The Wake,
Sex Pistols,
Crispian St. Peters,
Youth Brigade,
Rhythim Is Rhythim,
Joe Finger,
The Walker Brothers,
Freddie Wadling,
Black Sheep,
Ice-T,
Neil Young & Crazy Horse,
Terrestrial Tones,
Saccharine Trust,
The Durutti Column,
Jeff Lynne,
Yaz,
Jesper Dahlback,
This Heat,
T.S.O.L.,
Rekid,
Grandmaster Flash,
Faraquet,
Peter & Gordon,
The Neon Judgement,
The Slits,
David McCallum,
Wighnomy Brothers & Robag Wruhme,
the Soft Cell,
Robert Wyatt,
Index,
London Community Gospel Choir,
MC5,
Susan Cadogan,
Wasted Youth,
The Moody Blues,
James Chance & The Contortions,
Gregory Isaacs,
the Human League,
Pagans,
The Electric Prunes,
Supertramp,
Avey Tare, Avey Tare, Avey Tare, Avey Tare.
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.