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 New Zealand and from Sao Paulo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1977.
I'm losing my edge.
To all the kids in Glasgow and Taipei.
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 Tom Verlaine 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 Robert Wyatt to the rap 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 The Detroit Cobras. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Youth Brigade record on German import.
I heard that you have a white label of every seminal funk 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 an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your rhodes and bought a güiro.
I hear that you and your band have sold your güiro and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Gregory Isaacs,
The Knickerbockers,
Unrelated Segments,
the Germs,
Peter Gordon & Love of Life Orchestra,
Nick Fraelich,
Mandrill,
Monolake,
Sound Behaviour,
The Smoke,
Lower 48,
Gichy Dan,
Magma,
Liaisons Dangereuses,
Eden Ahbez,
Lebanon Hanover,
Fad Gadget,
Kerrie Biddell,
Lou Reed & Metallica,
Pere Ubu,
The Men They Couldn't Hang,
Lou Reed & John Cale,
The Alarm Clocks,
T.S.O.L.,
Soft Machine,
Jacob Miller,
Kenny Larkin,
Michelle Simonal,
Big Daddy Kane,
Oppenheimer Analysis,
Youth Brigade,
The Jesus and Mary Chain,
The Cure,
Ken Boothe,
Fluxion,
La Düsseldorf,
Sam Rivers,
Roger Hodgson,
Echospace,
Half Japanese,
The Peanut Butter Conspiracy,
Andrew Ashong & Theo Parrish,
Lee Hazlewood,
Spandau Ballet,
X-102,
Camberwell Now,
John Lydon,
The Dave Clark Five,
Fort Wilson Riot,
Fear,
The Cowsills,
Rites of Spring,
DJ Style,
Pagans,
Moss Icon,
Mary Jane Girls,
Terrestrial Tones,
Tim Buckley,
Quadrant,
The Slackers, The Slackers, The Slackers, The Slackers.
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.