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 Uzbekistan and from Halifax.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Accra and Bremen.
I'm losing my edge to the art-school Glasgow 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 Chic practice in a loft in New York.
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 Lizzy Mercier Descloux to the disco 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 Mad Mike. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every Agitation Free 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Electric Prunes,
Spandau Ballet,
Major Organ And The Adding Machine,
The Litter,
Stereo Dub,
Mary Jane Girls,
Dead Boys,
Cluster,
Rotary Connection,
The Divine Comedy,
Guru Guru,
Anakelly,
Joe Finger,
Ash Ra Tempel,
Gang Gang Dance,
Bizarre Inc.,
Brand Nubian,
Flamin' Groovies,
Lalo Schifrin,
The Smoke,
Beasts of Bourbon,
The Victims,
The Gap Band,
Fear,
Stockholm Monsters,
Bootsy's Rubber Band,
Teenage Jesus and the Jerks,
The Motions,
Tubeway Army,
Derrick May,
The Remains,
Flash Fearless,
Roger Hodgson,
Bush Tetras,
Blake Baxter,
Thinking Fellers Union Local 282,
Pantytec,
Robert Hood,
Babytalk,
Visage,
Lebanon Hanover,
Kurtis Blow,
London Community Gospel Choir,
Fela Kuti,
Public Enemy,
Avey Tare & Kría Brekkan,
The Martian,
A Certain Ratio,
H. Thieme,
Von Mondo,
Black Sheep,
The Stooges,
Lafayette Afro Rock Band,
Cecil Taylor,
Popol Vuh,
Bauhaus,
MC5, MC5, MC5, MC5.
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.