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 Zambia and from Milan.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Columbus.
I'm losing my edge to the art-school Salvador 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 1984 at the first Arcadia practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Scientists to the grunge 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 Whodini. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every Mantronix record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reagan Youth,
Mandrill,
Dark Day,
Girls At Our Best!,
Quando Quango,
Ronnie Foster,
cv313,
The Human League,
Scratch Acid,
Bad Manners,
Loose Ends,
The Mojo Men,
Red Lorry Yellow Lorry,
Bluetip,
Aural Exciters,
Lower 48,
R.M.O.,
Oppenheimer Analysis,
D'Angelo,
The New Christs,
Man Eating Sloth,
The Chocolate Watch Band,
Livin' Joy,
The Toasters,
Junior Murvin,
Terry Callier,
Buzzcocks,
Grandmaster Flash and the Furious Five,
Susan Cadogan,
The Gap Band,
Graham Central Station,
Thompson Twins,
Bobby Womack,
Magazine,
Chris & Cosey,
Babytalk,
Byron Stingily,
Dawn Penn,
Donny Hathaway,
The Names,
Sugar Minott,
Symarip,
Robert Görl,
Bob Dylan,
Don Cherry,
Röyhkä ja Rättö ja Lehtisalo,
Sparks,
Liliput,
Depeche Mode,
Eli Mardock,
Harpers Bizarre,
Motorama,
The United States of America,
Main Source,
The Index,
Cluster,
Ten City,
Gian Franco Pienzio,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.