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 Antigua and from Manchester.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Tehran and Cairo.
I'm losing my edge to the art-school Manchester 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Matthew Halsall to the jazz kids.
I played it at the Hacienda.
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 Gastr Del Sol. All the underground hits.
All Agitation Free tracks. I heard you have a vinyl of every Clear Light 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 '70s cut and another box set from the '70s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
The Selecter,
Zero Boys,
Swell Maps,
Eric Dolphy,
The Vogues,
Laurel Aitken,
Jacob Miller,
Terry Callier,
Nick Fraelich,
La Düsseldorf,
The Evens,
Slave,
Bizarre Inc.,
Icehouse,
Babytalk,
The Names,
E-Dancer,
Bootsy Collins,
Livin' Joy,
Glambeats Corp.,
Grauzone,
Al Stewart,
Jandek,
Lonnie Liston Smith,
Throbbing Gristle,
Pantytec,
Kings Of Tomorrow,
Ultravox,
Japan,
the Soft Cell,
Camberwell Now,
Byron Stingily,
Roy Ayers Ubiquity,
Fear,
Bobby Hutcherson,
Bronski Beat,
China Crisis,
Art Ensemble Of Chicago,
It's A Beautiful Day,
Television,
Fat Boys,
Roger Hodgson,
Royal Trux,
Oblivians,
Porter Ricks,
Marc Almond,
The Golliwogs,
Lindisfarne,
Average White Band,
Colin Newman,
Bobby Sherman,
Josef K,
Thinking Fellers Union Local 282,
Simply Red,
Tom Boy,
Eurythmics,
the Association,
Con Funk Shun,
The Men They Couldn't Hang,
Max Romeo,
Swans,
AZ,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.