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 East Timor and from Mexico City.
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 1977.
I'm losing my edge.
To all the kids in Johannesburg and Paris.
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 1968 at the first Bowie practice in a loft in Bromley.
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 The Gap Band to the jazz 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 Audionom. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Nico 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pussy Galore,
Surgeon,
Talk Talk,
Darondo,
Selector Dub Narcotic,
Grandmaster Flash,
Fela Kuti,
The Barracudas,
Cabaret Voltaire,
Aaron Thompson,
The American Breed,
Eli Mardock,
Bobby Sherman,
Sixth Finger,
Mission of Burma,
Nation of Ulysses,
kango's stein massive,
The Fire Engines,
The Birthday Party,
Accadde A,
Ash Ra Tempel,
the Normal,
Sly & The Family Stone,
Thompson Twins,
The Gun Club,
Angry Samoans,
Television Personalities,
Gary Puckett & The Union Gap,
Royal Trux,
Echo & the Bunnymen,
Black Pus,
The Mojo Men,
The Fugs,
Quadrant,
KRS-One,
Rites of Spring,
Crime,
MDC,
Yusef Lateef,
Sun Ra Arkestra,
The Victims,
John Cale,
The Monks,
Kerrie Biddell,
The Neon Judgement,
David Axelrod,
Unrelated Segments,
U.S. Maple,
Marcia Griffiths,
Stockholm Monsters,
Johnny Clarke,
Reuben Wilson,
The Jesus and Mary Chain,
Lou Christie,
Ultramagnetic MC's,
Whodini,
Joyce Sims,
Black Moon,
Fort Wilson Riot,
Quando Quango,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.