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 Norway and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1979.
I'm losing my edge.
To all the kids in Stockholm and Spokane.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 Manfred Mann's Earth Band to the rap 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 Derrick May. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every The Velvet Underground 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 rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
Depeche Mode,
Terrestrial Tones,
The Gun Club,
Camron Feat. Memphis Bleek And Beenie Seigel,
This Heat,
Roxy Music,
Cabaret Voltaire,
Brick,
The Angels of Light,
Niagra,
Quadrant,
Harpers Bizarre,
Skriet,
Country Joe & The Fish,
Yazoo,
Danielle Patucci,
The Fortunes,
Peter Gordon & Love of Life Orchestra,
Bauhaus,
James White and The Blacks,
the Bar-Kays,
Soft Machine,
Howard Jones,
The Grass Roots,
Q and Not U,
Wighnomy Brothers & Robag Wruhme,
Duran Duran,
Boogie Down Productions,
The American Breed,
Japan,
Ludus,
DNA,
Jacob Miller,
Organ,
PIL,
Metal Thangz,
the Sonics,
a-ha,
Matthew Halsall,
Sällskapet,
Gil Scott-Heron & Brian Jackson,
Grey Daturas,
Super Lover Cee & Casanova Rud,
Echospace,
Wolf Eyes,
Strawberry Alarm Clock,
Juan Atkins,
The Pop Group,
Gerry Rafferty,
Easy Going,
Ronnie Foster,
Radiohead,
The Busters,
The Tremeloes,
The Skatalites,
Popol Vuh,
Crash Course in Science,
Sonic Youth,
Marine Girls,
Camron Feat. Jay Z And Juelz,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.