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 Canada and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Woodstock.
I'm losing my edge to the art-school Cairo 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 arpeggiator 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 Lyres to the rock kids.
I played it at the Spitz.
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 David Axelrod. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Funky Four + One 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 linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
Andrew Ashong & Theo Parrish,
Echospace,
X-Ray Spex,
Bad Manners,
R.M.O.,
Liliput,
Vaughan Mason & Crew,
Wighnomy Brothers & Robag Wruhme,
Arab on Radar,
Bootsy Collins,
Aural Exciters,
The Star Department,
Donny Hathaway,
Howard Jones,
Lucky Dragons,
The Mighty Diamonds,
Lee Hazlewood,
De La Soul & Jungle Brothers,
Goldenarms,
Scott Walker + Sunn O))),
Easy Going,
Ornette Coleman,
JFA,
UT,
Grauzone,
Lyres,
Minor Threat,
Icehouse,
Grandmaster Flash and the Furious Five,
Gerry Rafferty,
Jacques Brel,
The Walker Brothers,
Donald Byrd,
Hasil Adkins,
Cameo,
The West Coast Pop Art Experimental Band,
Siouxsie and the Banshees,
Rufus Thomas,
In Retrospect,
Marc Almond,
Dennis Brown,
Nation of Ulysses,
Radio Birdman,
Soft Machine,
Sight & Sound,
Black Flag,
Funky Four + One,
June of 44,
Heaven 17,
Fifty Foot Hose,
Can,
Brick,
Bobby Hutcherson,
The American Breed,
Rod Modell,
DJ Sneak,
Public Image Ltd.,
Marmalade,
Pet Shop Boys,
Aloha Tigers,
Man Parrish,
Suburban Knight, Suburban Knight, Suburban Knight, Suburban Knight.
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.