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 Venezuela and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1978.
I'm losing my edge.
To all the kids in Johannesburg and Copenhagen.
I'm losing my edge to the art-school Manila 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the mellotron 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 Slits to the jazz kids.
I played it at CBGB's.
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 Porter Ricks. All the underground hits.
All Rowland S Howard / Lydia Lunch tracks. I heard you have a vinyl of every Dorothy Ashby record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Lalo Schifrin,
Yaz,
Kayak,
Easy Going,
B.T. Express,
Sun Ra,
Procol Harum,
Nas,
Public Image Ltd.,
the Sonics,
Hardrive,
Notorious BIG live in Amsterdam,
Agent Orange,
Roy Ayers Ubiquity,
Bobbi Humphrey,
Mary Jane Girls,
Danielle Patucci,
Zero Boys,
Depeche Mode,
David McCallum,
Black Pus,
The Mighty Diamonds,
Smog,
L. Decosne,
Sixth Finger,
The Associates,
Pharaoh Sanders and the Fire Engines,
Avey Tare & Kría Brekkan,
Tim Buckley,
Dead Boys,
Gong,
Gary Puckett & The Union Gap,
The Red Krayola,
Sugar Minott,
Neil Young & Crazy Horse,
The Dead C,
Q65,
Arab on Radar,
Ornette Coleman,
The Fire Engines,
Ultimate Spinach,
Soft Cell,
10cc,
The Move,
Louis and Bebe Barron,
The Pretty Things,
Fear,
Sound Behaviour,
EPMD,
Johnny Clarke,
Tres Demented,
E-Dancer,
Gabor Szabo,
Mantronix,
Morten Harket,
Moebius,
Television Personalities,
Bob Dylan,
Icehouse,
The Trojans,
The Happenings, The Happenings, The Happenings, The Happenings.
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.