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 Qatar and from Manchester.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Mumbai and Houston.
I'm losing my edge to the art-school Accra 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 Names to the electroclash kids.
I played it at the Troubador.
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 United States of America. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Groovy Waters record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Tears for Fears record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Tubeway Army,
Tears for Fears,
The Count Five,
Little Man,
Deutsch Amerikanische Freundschaft,
Sad Lovers and Giants,
Gabor Szabo,
FM Einheit,
Letta Mbulu,
Country Joe & The Fish,
Flash Fearless,
The Mighty Diamonds,
Visage,
Morten Harket,
H. Thieme,
Tres Demented,
Ultravox,
Minutemen,
New York Dolls,
Dead Boys,
Mark Hollis,
JFA,
Harpers Bizarre,
Fad Gadget,
The Jesus and Mary Chain,
The Birthday Party,
Barclay James Harvest,
the Slits,
Amon Düül,
ABBA,
The Cosmic Jokers,
Josef K,
Young Marble Giants,
Soul Sonic Force,
Gang Starr,
Bizarre Inc.,
The Alarm Clocks,
Flipper,
B.T. Express,
Rhythm & Sound,
One Last Wish,
Thinking Fellers Union Local 282,
Suicide,
Kayak,
The Mummies,
the Normal,
The J.B.'s,
The Kinks,
Fatback Band,
The Residents,
Scion,
The Tremeloes,
The Pop Group,
A Flock of Seagulls,
Max Romeo,
Scrapy,
Echo & the Bunnymen,
Beasts of Bourbon,
The Detroit Cobras,
Scott Walker + Sunn O))),
June of 44,
The Pretty Things,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.