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 Equatorial Guinea and from Portland.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and New York.
I'm losing my edge to the art-school Lille 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay 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 Qualms to the techno kids.
I played it at the 40 Watt.
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 Eyeless In Gaza. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Be Bop Deluxe record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erasure,
Sonny Sharrock,
Dave Gahan,
Max Romeo,
Liliput,
De La Soul & Jungle Brothers,
Heaven 17,
Scion,
Kool Moe Dee,
UT,
Babytalk,
Organ,
Camberwell Now,
Prince Buster,
H. Thieme,
Barbara Tucker,
The Residents,
The Moody Blues,
Albert Ayler,
the Normal,
Swell Maps,
Nick Fraelich,
John Holt,
The Dave Clark Five,
The Divine Comedy,
Mandrill,
Thee Headcoats,
Malaria!,
Eli Mardock,
Thinking Fellers Union Local 282,
Danielle Patucci,
Fela Kuti,
Liaisons Dangereuses,
Aural Exciters,
Bush Tetras,
La Düsseldorf,
Agitation Free,
L. Decosne,
Nik Kershaw,
Andrew Ashong & Theo Parrish,
Moebius,
Tomorrow,
Kings Of Tomorrow,
Technova,
Hashim,
Bobby Byrd,
The American Breed,
Parry Music,
Roy Ayers Ubiquity,
Susan Cadogan,
Girls At Our Best!,
Deadbeat,
Popol Vuh,
The Electric Prunes,
Barclay James Harvest,
The Alarm Clocks,
Oneida,
Joe Smooth,
Althea and Donna,
Reagan Youth,
The Mummies,
Electric Light Orchestra,
Theoretical Girls,
Todd Rundgren, Todd Rundgren, Todd Rundgren, Todd Rundgren.
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.