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 Turkey and from Mexico City.
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 Jakarta and Jakarta.
I'm losing my edge to the art-school Taipei 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 1976 at the first Chic practice in a loft in New York.
I was working on the guitar sounds with much patience.
I was there when Captain Beefheart 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 Alison Limerick to the grunge 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 Ten City. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every The Vogues record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Reagan Youth,
The Seeds,
Bill Wells,
Sonny Sharrock,
Ronan,
Rakim,
Mantronix,
Camouflage,
Angry Samoans,
Donny Hathaway,
The Fortunes,
Dual Sessions,
La Düsseldorf,
Fela Kuti,
Country Joe & The Fish,
Bobby Byrd,
Harmonia,
A Certain Ratio,
Unwound,
Bronski Beat,
Shuggie Otis,
The Human League,
Joe Finger,
X-Ray Spex,
Jeff Mills,
Moebius,
Art Ensemble Of Chicago,
AZ,
Ajijia Myrayebe,
Bush Tetras,
Absolute Body Control,
Ultravox,
Lyres,
Scientists,
Intrusion,
The Barracudas,
Sun City Girls,
Desert Stars,
Boredoms,
Jerry's Kids,
Althea and Donna,
Alton Ellis,
Rowland S Howard / Lydia Lunch,
Maleditus Sound,
Index,
Cal Tjader,
Neil Young,
X-101,
Red Lorry Yellow Lorry,
The Electric Prunes,
Yazoo,
Chrome,
A Flock of Seagulls,
Mission of Burma,
The Knickerbockers,
Con Funk Shun,
Eddi Front,
Blake Baxter,
Camron Feat. Memphis Bleek And Beenie Seigel,
Scrapy,
David McCallum,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.