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 Sweden and from Manila.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Spokane and Manila.
I'm losing my edge to the art-school Philadelphia 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 chamberlin 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 Amon Düül to the funk 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 Parry Music. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Lynne,
Urselle,
Los Fastidios,
Stockholm Monsters,
The Wake,
Ronnie Foster,
The Names,
Fifty Foot Hose,
Outsiders,
Neu!,
Infiniti,
The Monks,
Andrew Ashong & Theo Parrish,
Sad Lovers and Giants,
Black Flag,
Pet Shop Boys,
Yazoo,
Peter and Kerry,
Gil Scott-Heron & Brian Jackson,
Pylon,
Nick Fraelich,
Magma,
Radio Birdman,
The Saints,
Amon Düül II,
Godley & Creme,
Pharaoh Sanders and the Fire Engines,
The Offenders,
Amon Düül,
Drive Like Jehu,
Minnie Riperton,
Flash Fearless,
Kool G Rap & DJ Polo,
Nick Cave & The Bad Seeds,
Cheater Slicks,
Theoretical Girls,
the Fania All-Stars,
The American Breed,
Thee Headcoats,
Cameo,
Loose Ends,
Beasts of Bourbon,
DNA,
Little Man,
Main Source,
Television,
Idris Muhammad,
Rotary Connection,
Second Layer,
Saccharine Trust,
Oneida,
Fluxion,
Jesper Dahlbäck,
Nas,
Buzzcocks,
Fat Boys,
Faust,
New Order,
Soulsonic Force, Soulsonic Force, Soulsonic Force, Soulsonic Force.
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.