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 London.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Beijing and New York.
I'm losing my edge to the art-school Tokyo 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 1976 at the first Wire practice in a loft in Watford.
I was working on the rhodes 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 Tears for Fears 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 The Cure. All the underground hits.
All KRS-One tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Television Personalities,
Teenage Jesus and the Jerks,
Bronski Beat,
Bang On A Can,
Stetsasonic,
Idris Muhammad,
The United States of America,
Half Japanese,
Liliput,
Bootsy's Rubber Band,
Absolute Body Control,
Gil Scott Heron,
Surgeon,
Adolescents,
Magazine,
Dual Sessions,
The Walker Brothers,
Fluxion,
Japan,
Art Ensemble Of Chicago,
New Order,
Glambeats Corp.,
Wolf Eyes,
Soft Cell,
Agitation Free,
Sällskapet,
Kango’s Stein Massive,
The Modern Lovers,
Crispy Ambulance,
Sonny Sharrock,
Bush Tetras,
Sly & The Family Stone,
Rapeman,
Roy Ayers Ubiquity,
Peter Gordon & Love of Life Orchestra,
Tommy Roe,
Can,
Spandau Ballet,
Soft Machine,
The Velvet Underground,
The Selecter,
Country Joe & The Fish,
Lucky Dragons,
Hardrive,
DNA,
Gichy Dan,
Notorious Big And Bone Thugs,
Girls At Our Best!,
H. Thieme,
Ten City,
Con Funk Shun,
Monolake,
Moebius,
Lizzy Mercier Descloux,
Moss Icon,
Masters at Work,
Eric Copeland,
Graham Central Station,
The Detroit Cobras,
Cluster,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.