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 Salvador.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Bologna.
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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Gian Franco Pienzio to the dance kids.
I played it at Trash.
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 Oppenheimer Analysis. All the underground hits.
All Scan 7 tracks. I heard you have a vinyl of every Gang Green record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Stiv Bators,
The Trojans,
The Techniques,
Major Organ And The Adding Machine,
Rufus Thomas,
Chris Corsano,
David Bowie,
World's Most,
Robert Görl,
Eric Copeland,
Cluster,
Warsaw,
Aswad,
Nirvana,
Thinking Fellers Union Local 282,
Anakelly,
Ituana,
Ash Ra Tempel,
Stetsasonic,
Barclay James Harvest,
Morten Harket,
Graham Central Station,
Derrick Morgan,
Jeff Lynne,
Simply Red,
Delon & Dalcan,
Soft Machine,
L. Decosne,
Franke,
Alphaville,
Lalo Schifrin,
Jesper Dahlback,
Ludus,
Warren Ellis,
The Cure,
Michelle Simonal,
Charles Mingus,
the Sonics,
Black Pus,
JFA,
Eddi Front,
Gang of Four,
Camberwell Now,
Iggy Pop,
Shoche,
Susan Cadogan,
Roxy Music,
Qualms,
Ajijia Myrayebe,
Subhumans,
Liaisons Dangereuses,
Accadde A,
Ken Boothe,
Eurythmics,
Al Stewart,
Kool Moe Dee,
Supertramp,
Louis and Bebe Barron,
Pantaleimon,
Goldenarms,
Suicide,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.