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 St Lucia and from Spokane.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Spokane and Madrid.
I'm losing my edge to the art-school Beijing 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 1984 at the first Arcadia practice in a loft in London.
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 Lyres to the dance kids.
I played it at the Roxy.
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 The Buckinghams. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every The Moleskins 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Orchestral Manoeuvres in the Dark,
Strawberry Alarm Clock,
Soft Machine,
Jeff Mills,
Amon Düül II,
Anakelly,
Dawn Penn,
The American Breed,
DNA,
Harry Pussy,
Public Image Ltd.,
Sunsets and Hearts,
Joyce Sims,
The Remains,
Whodini,
Ultravox,
Radio Birdman,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Faust,
B.T. Express,
Kevin Saunderson,
The Saints,
Gerry Rafferty,
Jacob Miller,
Darondo,
A Flock of Seagulls,
Deutsch Amerikanische Freundschaft,
Siglo XX,
Shuggie Otis,
Goldenarms,
Kings Of Tomorrow,
The Neon Judgement,
Symarip,
Rod Modell,
Zapp,
The Mighty Diamonds,
Michelle Simonal,
The Mummies,
Motorama,
Unwound,
Fifty Foot Hose,
Sight & Sound,
The Seeds,
Television,
Kerri Chandler,
Inner City,
The Shadows of Knight,
Howard Jones,
Derrick May,
Robert Wyatt,
The Golliwogs,
Blancmange,
Cybotron,
Roy Ayers Ubiquity,
Mr. Review,
Chris & Cosey,
Radiopuhelimet,
Sandy B, Sandy B, Sandy B, Sandy B.
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.