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 Ireland and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Accra.
I'm losing my edge to the art-school Columbus 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 Eli Mardock to the rock 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 Whodini. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five 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 '60s cut and another box set from the '90s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Amon Düül,
Matthew Halsall,
Iggy Pop,
The Doors,
Aural Exciters,
Cal Tjader,
Bobby Womack,
Byron Stingily,
Moss Icon,
Rotary Connection,
Lebanon Hanover,
The Buckinghams,
Bill Wells,
The Smoke,
The Slits,
The Mighty Diamonds,
Silicon Teens,
Gregory Isaacs,
The Velvet Underground,
Terrestrial Tones,
Barclay James Harvest,
Rites of Spring,
The Golliwogs,
Camberwell Now,
Black Moon,
Marc Romboy vs. Booka Shade,
CMW,
Suburban Knight,
Alphaville,
Royal Trux,
Malaria!,
Dark Day,
Kerrie Biddell,
Tommy Roe,
Jimmy McGriff,
Agent Orange,
Aswad,
Deadbeat,
The Gladiators,
The Flesh Eaters,
The Misunderstood,
Avey Tare's Slasher Flicks,
Franke,
X-Ray Spex,
Moby Grape,
Nico,
Livin' Joy,
Scratch Acid,
The Slackers,
The Evens,
Freddie Wadling,
Fela Kuti,
Kauko Röyhkä ja Narttu,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Duran Duran,
Michelle Simonal,
Gerry Rafferty,
Popol Vuh,
The Skatalites,
Big Daddy Kane,
MC5,
The Pretty Things,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.