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 Samoa and from Milan.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Manila.
I'm losing my edge to the art-school Hong Kong 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 Human League practice in a loft in Sheffield.
I was working on the harpsichord 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 DeepChord presents Echospace to the dance 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 Mars. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every Talk Talk record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
Hasil Adkins,
Joe Smooth,
Fad Gadget,
The Saints,
The Doobie Brothers,
B.T. Express,
U.S. Maple,
Cheater Slicks,
X-Ray Spex,
Dorothy Ashby,
Kings Of Tomorrow,
Massinfluence,
The Motions,
Accadde A,
Mars,
Fifty Foot Hose,
The Dead C,
Avey Tare's Slasher Flicks,
Mr. Review,
Black Sheep,
the Swans,
Icehouse,
The Invisible,
Terror Squad Feat. Camron,
Make Up,
Au Pairs,
Lonnie Liston Smith,
Crispy Ambulance,
Althea and Donna,
The Buckinghams,
Kayak,
Bobby Hutcherson,
Suburban Knight,
Eric Dolphy,
Lafayette Afro Rock Band,
Gang Gang Dance,
Marmalade,
The Moody Blues,
X-101,
Quadrant,
Aloha Tigers,
the Soft Cell,
The American Breed,
Leonard Cohen,
Heavy D & The Boyz,
Negative Approach,
The Birthday Party,
The Names,
Rakim,
Orchestral Manoeuvres in the Dark,
Underground Resistance,
Country Teasers,
Barbara Tucker,
Radiopuhelimet,
A Flock of Seagulls,
The Techniques,
Ornette Coleman,
Bronski Beat,
Can,
Lindisfarne,
Glambeats Corp.,
Von Mondo,
The Associates,
Dave Gahan, Dave Gahan, Dave Gahan, Dave Gahan.
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.