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 Estonia and from Stockholm.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Madrid and Bremen.
I'm losing my edge to the art-school Portland 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 Wire practice in a loft in Watford.
I was working on the rhodes 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 Kango’s Stein Massive to the dance kids.
I played it at the Spitz.
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 Kinks. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Easy Going record on German import.
I heard that you have a white label of every seminal punk 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 synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
Neil Young & Crazy Horse,
Barrington Levy,
Kaleidoscope,
Judy Mowatt,
Anthony Braxton,
Sex Pistols,
Eurythmics,
Animal Collective,
Al Stewart,
Icehouse,
Youth Brigade,
Jacob Miller,
Gang of Four,
Toni Rubio,
Talk Talk,
Hardrive,
Angels of Light & Akron/Family,
Cecil Taylor,
The Happenings,
The Wake,
Michelle Simonal,
Arthur Verocai,
Sound Behaviour,
Don Cherry,
Joensuu 1685,
Tom Boy,
The Royal Family And The Poor,
Public Image Ltd.,
The Divine Comedy,
Harmonia,
Delta 5,
Mantronix,
Second Layer,
Symarip,
The Victims,
Grauzone,
The Walker Brothers,
Ice-T,
The New Christs,
Jeff Lynne,
Jesper Dahlbäck,
Lee Hazlewood,
Section 25,
Monolake,
Peter and Kerry,
Pantaleimon,
Royal Trux,
The Remains,
Dave Gahan,
Rakim,
The Golliwogs,
The Cosmic Jokers,
PIL,
Vainqueur,
Terry Callier,
Traffic Nightmare,
Duran Duran,
Magazine,
Underground Resistance,
Avey Tare's Slasher Flicks,
Soul Sonic Force,
E-Dancer, E-Dancer, E-Dancer, E-Dancer.
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.