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 Comoros and from Manila.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1968 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Sao Paulo.
I'm losing my edge to the art-school Seoul 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 güiro 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 Justin Hinds & The Dominoes to the disco 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 June Days. All the underground hits.
All Boz Scaggs tracks. I heard you have a vinyl of every Easy Going 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
The Tremeloes,
Franke,
Marmalade,
Gil Scott-Heron & Brian Jackson,
Minor Threat,
Kayak,
Aural Exciters,
the Sonics,
Connie Case,
Simply Red,
Radio Birdman,
Tomorrow,
Dead Boys,
Kevin Saunderson,
Beasts of Bourbon,
Byron Stingily,
Gong,
The Monks,
the Soft Cell,
Grey Daturas,
Flash Fearless,
Suicide,
Babytalk,
Slick Rick,
Frankie Knuckles,
Matthew Halsall,
Technova,
Junior Murvin,
David Bowie,
The Names,
Liaisons Dangereuses,
the Germs,
Surgeon,
Orchestral Manoeuvres in the Dark,
Organ,
Fifty Foot Hose,
Man Parrish,
The Shadows of Knight,
AZ,
Bobby Hutcherson,
Justin Hinds & The Dominoes,
The Selecter,
Teenage Jesus and the Jerks,
Stockholm Monsters,
Bobby Sherman,
The American Breed,
The Velvet Underground,
Sonic Youth,
Howard Jones,
Brothers Johnson,
Carl Craig,
New York Dolls,
Terrestrial Tones,
Ituana,
Metal Thangz,
Adolescents,
Sad Lovers and Giants,
The Music Machine,
The Raincoats,
The Fall,
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.