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 Kazakhstan and from Philadelphia.
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 1971.
I'm losing my edge.
To all the kids in Taipei and Copenhagen.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Infiniti to the rap 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 LL Cool J. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Section 25 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 '80s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bobbi Humphrey record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Super Lover Cee & Casanova Rud,
Loose Ends,
Mark Hollis,
Inner City,
Bluetip,
New York Dolls,
Robert Görl,
Ash Ra Tempel,
Bill Wells,
Dark Day,
Magma,
Echospace,
Gerry Rafferty,
Zero Boys,
John Coltrane,
Echo & the Bunnymen,
The J.B.'s,
Section 25,
Notorious BIG live in Amsterdam,
The Monochrome Set,
Whodini,
The Sound,
Boogie Down Productions,
Underground Resistance,
Heavy D & The Boyz,
the Soft Cell,
Television,
JFA,
Mo-Dettes,
Gil Scott-Heron & Brian Jackson,
The American Breed,
Bootsy's Rubber Band,
Eyeless In Gaza,
Easy Going,
the Human League,
The Knickerbockers,
Peter and Kerry,
Pere Ubu,
London Community Gospel Choir,
Interpol,
The Tremeloes,
Jeff Mills,
Suicide,
Procol Harum,
The Move,
Gil Scott Heron,
David Bowie,
Ken Boothe,
Mary Jane Girls,
Fear,
New Age Steppers,
Lungfish,
Orchestral Manoeuvres in the Dark,
The Barracudas,
Thee Headcoats,
The Fortunes,
Duran Duran,
The Blackbyrds,
Public Image Ltd.,
Swell Maps,
The Cramps, The Cramps, The Cramps, The Cramps.
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.