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 Iran and from London.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1970.
I'm losing my edge.
To all the kids in Jakarta and Mumbai.
I'm losing my edge to the art-school Houston 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 harpsichord 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 Amon Düül to the grunge 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 Johnny Clarke. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal crunk 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Soul II Soul record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Wasted Youth,
Max Romeo,
Stetsasonic,
The Barracudas,
Laurel Aitken,
Super Lover Cee & Casanova Rud,
Toni Rubio,
Wally Richardson,
The Doobie Brothers,
The New Christs,
Electric Prunes,
Marc Romboy vs. Booka Shade,
T.S.O.L.,
Jacques Brel,
The Angels of Light,
Aural Exciters,
The Wake,
Cecil Taylor,
Sarah Menescal,
Graham Central Station,
Sam Rivers,
Vladislav Delay,
Nas,
Lizzy Mercier Descloux,
The Modern Lovers,
Lalann,
CMW,
Radiohead,
Adolescents,
Boz Scaggs,
Rufus Thomas,
Mantronix,
The Star Department,
Crash Course in Science,
Oneida,
Fear,
Soulsonic Force,
It's A Beautiful Day,
Minnie Riperton,
Pierre Henry,
John Cale,
Prince Buster,
Bronski Beat,
Orchestral Manoeuvres in the Dark,
AZ,
Los Fastidios,
Oppenheimer Analysis,
Von Mondo,
Bad Manners,
The Men They Couldn't Hang,
Jesper Dahlbäck,
Bauhaus,
Ossler,
Malaria!,
Television Personalities,
Eddi Front,
Brothers Johnson,
Kas Product,
Rites of Spring,
Con Funk Shun,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.