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 Cameroon and from Paris.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Taipei and Philadelphia.
I'm losing my edge to the art-school Mumbai 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the spring reverb 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 Brothers Johnson to the punk kids.
I played it at the 40 Watt.
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 Jesper Dahlbäck. All the underground hits.
All Neu! tracks. I heard you have a vinyl of every The Kinks record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
Supertramp,
Louis and Bebe Barron,
Delon & Dalcan,
The Gories,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gerry Rafferty,
Patti Smith,
Stiv Bators,
Drexciya,
Freddie Wadling,
Steve Hackett,
The Zeros,
Jesper Dahlback,
The Stooges,
Nico,
Kurtis Blow,
One Last Wish,
Eli Mardock,
The Doobie Brothers,
Oppenheimer Analysis,
Mary Jane Girls,
Echospace,
New Order,
James Chance & The Contortions,
Quando Quango,
The Sisters of Mercy,
Gang Green,
Sällskapet,
The Fuzztones,
Art Ensemble Of Chicago,
Erasure,
Sixth Finger,
Radio Birdman,
the Soft Cell,
FM Einheit,
Barrington Levy,
The American Breed,
Connie Case,
Gil Scott-Heron & Brian Jackson,
Gregory Isaacs,
The Chocolate Watch Band,
Scratch Acid,
Mission of Burma,
Glambeats Corp.,
Gil Scott-Heron and Jamie xx,
Eric B and Rakim,
Bad Manners,
Procol Harum,
Rufus Thomas,
Sunsets and Hearts,
Pet Shop Boys,
Avey Tare's Slasher Flicks,
Fat Boys,
Sandy B,
The Men They Couldn't Hang,
Television,
Alphaville,
Yusef Lateef,
Desert Stars,
Kenny Larkin,
Frankie Knuckles,
Guru Guru,
The Dave Clark Five, The Dave Clark Five, The Dave Clark Five, The Dave Clark Five.
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.