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 Kyrgyzstan and from Lyon.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 Shanghai and Glasgow.
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 chamberlin 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 Captain Beefheart & His Magic Band to the funk 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 Jacob Miller. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Tubeway Army record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The New Christs,
Ronnie Foster,
The Smoke,
Bob Dylan,
Tommy Roe,
Grauzone,
Pharaoh Sanders and the Fire Engines,
10cc,
Spoonie Gee,
AZ,
Gang Green,
Bobby Hutcherson,
kango's stein massive,
The Star Department,
Vainqueur,
Make Up,
Roxette,
The West Coast Pop Art Experimental Band,
Harry Pussy,
Alphaville,
Siglo XX,
Flipper,
Joe Smooth,
Richard Hell and the Voidoids,
The Mojo Men,
Delon & Dalcan,
Gang Gang Dance,
Marmalade,
Donald Byrd,
Notorious BIG live in Amsterdam,
Jacques Brel,
Heaven 17,
Zapp,
The Vogues,
R.M.O.,
Model 500,
Lee Hazlewood,
The Velvet Underground,
Arab on Radar,
Rosa Yemen,
Stiv Bators,
The Moleskins,
The Move,
Quadrant,
Amon Düül,
The Sound,
Kango’s Stein Massive,
The Sonics,
The Divine Comedy,
Kaleidoscope,
Sunsets and Hearts,
Robert Görl,
Fluxion,
Technova,
The Shadows of Knight,
Popol Vuh,
Sandy B,
The Beau Brummels,
Bronski Beat,
The United States of America,
Organ,
James White and The Blacks,
Erasure,
Electric Prunes,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.