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 Mauritius and from Manila.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1961 to 1976.
I'm losing my edge.
To all the kids in Columbus and Houston.
I'm losing my edge to the art-school Paris 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the synthesizer 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 Girls At Our Best! to the techno kids.
I played it at Cafe Wha.
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 Mary Jane Girls. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every The Evens 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blackbyrds,
Amon Düül,
a-ha,
John Foxx,
Johnny Osbourne,
Faust,
Spoonie Gee,
Japan,
Average White Band,
Black Flag,
Gang Starr,
Infiniti,
the Slits,
Freddie Wadling,
Robert Wyatt,
Alton Ellis,
Dennis Brown,
The Tremeloes,
John Coltrane,
Isaac Hayes,
John Holt,
Massinfluence,
R.M.O.,
La Düsseldorf,
the Bar-Kays,
Zapp,
Rotary Connection,
The Peanut Butter Conspiracy,
Liliput,
Duran Duran,
Lafayette Afro Rock Band,
The Kinks,
cv313,
Sun Ra Arkestra,
The Divine Comedy,
Sällskapet,
Röyhkä ja Rättö ja Lehtisalo,
Alison Limerick,
Faraquet,
Gil Scott-Heron & Brian Jackson,
Red Lorry Yellow Lorry,
Lou Christie,
The United States of America,
Second Layer,
The Wake,
Electric Prunes,
JFA,
Black Sheep,
Au Pairs,
Underground Resistance,
The Royal Family And The Poor,
Richard Hell and the Voidoids,
Tom Boy,
Organ,
Fugazi,
Gregory Isaacs,
June of 44,
Gian Franco Pienzio,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.