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 Philippines and from London.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Woodstock.
I'm losing my edge to the art-school Toronto 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 Human League practice in a loft in Sheffield.
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 Pantytec to the electroclash 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 Harry Pussy. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Nick Cave & The Bad Seeds,
The Cramps,
Laurel Aitken,
The Doobie Brothers,
Unwound,
Zapp,
Lyres,
Deadbeat,
Wighnomy Brothers & Robag Wruhme,
London Community Gospel Choir,
Fort Wilson Riot,
Howard Jones,
the Sonics,
The Black Dice,
Harpers Bizarre,
Crime,
Spandau Ballet,
John Lydon,
Peter and Kerry,
The Dead C,
Second Layer,
Lou Christie,
Pierre Henry,
Andrew Hill,
Man Parrish,
The Vogues,
Kayak,
Carl Craig,
Gong,
Scion,
Godley & Creme,
Major Organ And The Adding Machine,
Matthew Bourne,
The Neon Judgement,
Grauzone,
Sexual Harrassment,
Be Bop Deluxe,
Jeff Lynne,
Kurtis Blow,
Bobby Byrd,
Junior Murvin,
The Fire Engines,
Boogie Down Productions,
The Gap Band,
Roxy Music,
Ossler,
Animal Collective,
Bobby Sherman,
Beasts of Bourbon,
Camron Feat. Jay Z And Juelz,
Gil Scott Heron,
The Skatalites,
Man Eating Sloth,
Youth Brigade,
Delon & Dalcan,
Delta 5,
Bobby Hutcherson,
Jacques Brel,
Wasted Youth,
The Angels of Light,
Black Moon, Black Moon, Black Moon, Black Moon.
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.