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 Gabon and from London.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Bremen and Lagos.
I'm losing my edge to the art-school Johannesburg 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 Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 The Standells to the techno kids.
I played it at the Crocodile.
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 Prince Buster. All the underground hits.
All The Tremeloes tracks. I heard you have a vinyl of every Flipper 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roger Hodgson,
Masters at Work,
The Detroit Cobras,
Funkadelic,
Graham Central Station,
Neil Young & Crazy Horse,
Bronski Beat,
Scott Walker,
Oppenheimer Analysis,
The Names,
Metal Thangz,
Bauhaus,
Cameo,
Scratch Acid,
Von Mondo,
Los Fastidios,
Beasts of Bourbon,
The Misunderstood,
Vaughan Mason & Crew,
Althea and Donna,
Brothers Johnson,
Crash Course in Science,
Rufus Thomas,
Whodini,
Marvin Gaye,
June of 44,
The Mighty Diamonds,
Yellowson,
Roxette,
Electric Prunes,
Radio Birdman,
Junior Murvin,
Maurizio,
Unrelated Segments,
Pet Shop Boys,
World's Most,
Selector Dub Narcotic,
Scion,
Deepchord,
Quadrant,
Blake Baxter,
Ash Ra Tempel,
Kaleidoscope,
the Normal,
Eric B and Rakim,
Faraquet,
Kool G Rap & DJ Polo,
Panda Bear,
Marmalade,
Minny Pops,
Gastr Del Sol,
Harmonia,
Country Joe & The Fish,
Soft Machine,
U.S. Maple,
The Searchers,
Orchestral Manoeuvres in the Dark,
Ohio Players,
Oneida,
Gong,
Dennis Brown, Dennis Brown, Dennis Brown, Dennis Brown.
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.