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 Finland and from Woodstock.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1969 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Taipei.
I'm losing my edge to the art-school Bologna 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the rhodes 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 Bobby Hutcherson to the disco 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 Byron Stingily. All the underground hits.
All Thinking Fellers Union Local 282 tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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 Vogues,
The Fire Engines,
the Normal,
Eric Copeland,
Buzzcocks,
Sugar Minott,
Model 500,
Grandmaster Flash and the Furious Five,
Curtis Mayfield,
Bobby Hutcherson,
Inner City,
Leonard Cohen,
The Birthday Party,
The Five Americans,
Schoolly D,
Siglo XX,
The Grass Roots,
Public Image Ltd.,
The Gap Band,
Soul Sonic Force,
Freddie Wadling,
Shuggie Otis,
Gerry Rafferty,
Ornette Coleman,
Can,
Barry Ungar,
Big Daddy Kane,
Ultravox,
Siouxsie and the Banshees,
The Smoke,
Bluetip,
Graham Central Station,
Angry Samoans,
Echo & the Bunnymen,
Scott Walker,
Rites of Spring,
Bizarre Inc.,
The Royal Family And The Poor,
X-102,
Ash Ra Tempel,
June Days,
Monks,
Drexciya,
Television,
China Crisis,
Tears for Fears,
Avey Tare & Kría Brekkan,
Bootsy Collins,
Kaleidoscope,
Black Sheep,
The Fugs,
The Stooges,
Eden Ahbez,
Los Fastidios,
Bauhaus,
Arab on Radar,
Eurythmics,
Malaria!,
David Axelrod,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.