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 Israel and from Manila.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Manchester and Salvador.
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 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 Peter & Gordon to the jazz kids.
I played it at CBGB's.
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 Bobby Sherman. All the underground hits.
All Jeff Lynne tracks. I heard you have a vinyl of every Marshall Jefferson 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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 Fortunes,
Blossom Toes,
Camouflage,
James White and The Blacks,
Carl Craig,
Tommy Roe,
Jandek,
Sad Lovers and Giants,
Porter Ricks,
Wasted Youth,
Joe Smooth,
Adolescents,
Mark Hollis,
Lower 48,
Sly & The Family Stone,
Bang On A Can,
Soft Machine,
Richard Hell and the Voidoids,
Duran Duran,
Bobby Byrd,
Stetsasonic,
Aaron Thompson,
Dual Sessions,
Delta 5,
Bob Dylan,
Skarface,
Stiv Bators,
Anakelly,
Soul II Soul,
Notorious Big And Bone Thugs,
Marcia Griffiths,
The Gories,
La Düsseldorf,
Juan Atkins,
Moss Icon,
Black Pus,
Traffic Nightmare,
Harry Pussy,
Chris & Cosey,
Bronski Beat,
Sonny Sharrock,
Bobby Womack,
MDC,
Lindisfarne,
Mars,
Eli Mardock,
The Doors,
10cc,
Angels of Light & Akron/Family,
Aural Exciters,
John Lydon,
FM Einheit,
the Human League,
Brothers Johnson,
Wighnomy Brothers & Robag Wruhme,
the Fania All-Stars,
The Knickerbockers,
Television Personalities,
The Buckinghams,
Motorama,
Jimmy McGriff,
Electric Prunes,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.