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 Ukraine and from Glasgow.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Bremen and Woodstock.
I'm losing my edge to the art-school Tehran 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 1973 at the first Television practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 48th St. Collective to the jazz kids.
I played it at the Troubador.
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 Jeff Lynne. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Kerrie Biddell record on German import.
I heard that you have a white label of every seminal disco 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 guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin 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?
The Birthday Party,
Half Japanese,
the Human League,
The American Breed,
the Association,
Arthur Verocai,
Charles Mingus,
Girls At Our Best!,
LL Cool J,
Dawn Penn,
Qualms,
Bob Dylan,
Dave Gahan,
B.T. Express,
The Moody Blues,
Man Parrish,
Roxy Music,
The Dave Clark Five,
Teenage Jesus and the Jerks,
Trumans Water,
Stetsasonic,
KRS-One,
Faraquet,
Stockholm Monsters,
Cecil Taylor,
Laurel Aitken,
Lalo Schifrin,
Quando Quango,
The Mummies,
Marine Girls,
Cameo,
Shuggie Otis,
Derrick May,
Ituana,
Rotary Connection,
Soul II Soul,
Aswad,
Moby Grape,
Drexciya,
Eric Dolphy,
The Jesus and Mary Chain,
Das Ding,
Popol Vuh,
Robert Hood,
Black Flag,
Tears for Fears,
Sarah Menescal,
The Fuzztones,
Ash Ra Tempel,
The Gap Band,
Mo-Dettes,
The Move,
The Men They Couldn't Hang,
Outsiders,
The Sonics,
Bobby Byrd,
Infiniti,
Visage,
Slave,
X-102,
Main Source, Main Source, Main Source, Main Source.
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.