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 Uganda and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Lagos and Stockholm.
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 Human League practice in a loft in Sheffield.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 AZ to the rock kids.
I played it at the Astoria.
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 Radiohead. All the underground hits.
All Gil Scott-Heron & Brian Jackson tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pagans,
Bauhaus,
Lou Reed,
Bobby Sherman,
Panda Bear,
The Doors,
Marc Almond,
Public Image Ltd.,
New Age Steppers,
Mars,
R.M.O.,
the Sonics,
Flipper,
Henry Cow,
Electric Light Orchestra,
Ultra Naté,
Chris & Cosey,
Sun City Girls,
The Sonics,
Wasted Youth,
Vladislav Delay,
Aural Exciters,
Isaac Hayes,
Soft Cell,
World's Most,
Andrew Hill,
Lalann,
DJ Style,
Y Pants,
Roger Hodgson,
Country Joe & The Fish,
Tim Buckley,
Heavy D & The Boyz,
Neil Young & Crazy Horse,
Fad Gadget,
K-Klass,
Joey Negro,
Ultravox,
Donny Hathaway,
Bush Tetras,
Qualms,
Scott Walker,
Mandrill,
Rekid,
The Star Department,
The Misunderstood,
Strawberry Alarm Clock,
Gabor Szabo,
Adolescents,
Black Sheep,
Mo-Dettes,
Piero Umiliani,
Brick,
Excepter,
Stockholm Monsters,
the Swans,
Lonnie Liston Smith,
JFA,
L. Decosne,
Swell Maps,
Symarip,
Visage,
Gil Scott Heron,
Motorama, Motorama, Motorama, Motorama.
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.