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 Lesotho and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Portland.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the linndrum 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 R.M.O. to the jazz kids.
I played it at the Roxy.
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 Masters at Work. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every The Index 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 '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
Strawberry Alarm Clock,
Amazonics,
The Alarm Clocks,
Agent Orange,
The Remains,
Nico,
Ultravox,
Sun City Girls,
Soft Cell,
Red Lorry Yellow Lorry,
Althea and Donna,
Tears for Fears,
Marvin Gaye,
Slick Rick,
Camron Feat. Memphis Bleek And Beenie Seigel,
Big Daddy Kane,
Little Man,
The Kinks,
The Selecter,
Archie Shepp,
Nick Cave & The Bad Seeds,
Easy Going,
Buzzcocks,
Zero Boys,
Cybotron,
Gichy Dan,
Blake Baxter,
Massinfluence,
Visionaries,LMNO, T- Love & Iriscience,
Soul II Soul,
The American Breed,
Icehouse,
Dorothy Ashby,
Gil Scott Heron,
Lonnie Liston Smith,
The Smoke,
Basic Channel,
Roy Ayers,
Depeche Mode,
Scan 7,
Vaughan Mason & Crew,
X-101,
June Days,
DeepChord presents Echospace,
Visage,
Eli Mardock,
Procol Harum,
Bootsy's Rubber Band,
Pharaoh Sanders and the Fire Engines,
Crooked Eye,
Barrington Levy,
Jacob Miller,
Marshall Jefferson,
L. Decosne,
Avey Tare's Slasher Flicks,
Brass Construction,
Heaven 17,
Joe Smooth,
Ken Boothe,
David Axelrod,
Joy Division,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.