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 Colombia and from Seoul.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1975.
I'm losing my edge.
To all the kids in Sao Paulo and New York.
I'm losing my edge to the art-school New York 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 organ 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 Johnny Osbourne to the grunge 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 Mad Mike. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every Leonard Cohen 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your clarinet and bought a guitar.
I hear that you and your band have sold your guitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Brass Construction,
The Stooges,
The Mighty Diamonds,
Ronnie Foster,
Charles Mingus,
Fugazi,
Fifty Foot Hose,
Neu!,
Stereo Dub,
The Blackbyrds,
Sight & Sound,
It's A Beautiful Day,
Popol Vuh,
Oblivians,
The Chocolate Watch Band,
Crime,
Roy Ayers Ubiquity,
Ohio Players,
Strawberry Alarm Clock,
Selector Dub Narcotic,
Liliput,
Ultramagnetic MC's,
Joyce Sims,
Clear Light,
A Certain Ratio,
Andrew Hill,
The Gladiators,
The Motions,
Hasil Adkins,
The Invisible,
Barrington Levy,
Crispian St. Peters,
Ultravox,
Eurythmics,
Q and Not U,
10cc,
Flamin' Groovies,
The Gap Band,
Bush Tetras,
Marc Romboy vs. Booka Shade,
Amazonics,
The New Christs,
Bauhaus,
Television Personalities,
Swans,
The Buckinghams,
Howard Jones,
Jeru the Damaja,
Moby Grape,
The Searchers,
Chris & Cosey,
Essential Logic,
The Fortunes,
Scientists,
Lou Christie,
Soulsonic Force,
cv313,
Average White Band,
The Detroit Cobras,
June Days,
Talk Talk,
Jimmy McGriff,
the Normal, the Normal, the Normal, the Normal.
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.