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 Portugal and from Delhi.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1974.
I'm losing my edge.
To all the kids in New York and Bremen.
I'm losing my edge to the art-school Sao Paulo 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 sitar 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 Count Five to the rock kids.
I played it at the Hacienda.
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 Motions. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Television 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 '90s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Sixth Finger record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Bush Tetras,
Lebanon Hanover,
Urselle,
Crash Course in Science,
Nico,
Eurythmics,
Joe Smooth,
Thee Headcoats,
Cabaret Voltaire,
The Leaves,
Angels of Light & Akron/Family,
Morten Harket,
June of 44,
Soft Cell,
Mantronix,
Jeff Lynne,
Gil Scott-Heron and Jamie xx,
Siglo XX,
The Modern Lovers,
Gichy Dan,
The Velvet Underground,
Heaven 17,
Ten City,
Black Bananas,
Gabor Szabo,
Supertramp,
Unrelated Segments,
The Sisters of Mercy,
The Moody Blues,
a-ha,
Monks,
Ice-T,
Marmalade,
JFA,
Saccharine Trust,
Joy Division,
Gil Scott Heron,
The Slits,
Rekid,
Godley & Creme,
Gang Starr,
the Bar-Kays,
Theoretical Girls,
Al Stewart,
The Sound,
Grauzone,
Blossom Toes,
Bluetip,
Kango’s Stein Massive,
The Buckinghams,
Kurtis Blow,
Joyce Sims,
Thompson Twins,
Gerry Rafferty,
Kevin Saunderson,
Banda Bassotti,
Johnny Clarke,
The Mojo Men,
Soft Machine,
Roger Hodgson,
Black Moon,
Erykah Badu,
Mars, Mars, Mars, Mars.
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.