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 Namibia and from Copenhagen.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Glasgow.
I'm losing my edge to the art-school Madrid 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 Second Layer practice in a loft in South London.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Marc Almond to the punk kids.
I played it at Cafe Wha.
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 Fuzztones. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every MDC 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
Mars,
Anakelly,
Sunsets and Hearts,
FM Einheit,
Al Stewart,
Crooked Eye,
Pere Ubu,
CMW,
Orchestral Manoeuvres in the Dark,
Deepchord,
Livin' Joy,
Jerry's Kids,
Mad Mike,
Scion,
Oblivians,
R.M.O.,
The Mojo Men,
Boogie Down Productions,
Gang Gang Dance,
cv313,
Moebius,
The Young Rascals,
Thee Headcoats,
Radiohead,
Lou Reed & John Cale,
The Birthday Party,
Glenn Branca,
Harry Pussy,
T. Rex,
Johnny Osbourne,
Yazoo,
Rhythm & Sound,
Don Cherry,
Captain Beefheart & His Magic Band,
The Modern Lovers,
Fluxion,
Scott Walker,
Terry Callier,
Surgeon,
Bill Near,
Marmalade,
Jacques Brel,
The Vogues,
Blossom Toes,
Stockholm Monsters,
Curtis Mayfield,
UT,
Rosa Yemen,
kango's stein massive,
Patti Smith,
Teenage Jesus and the Jerks,
Lonnie Liston Smith,
The Blackbyrds,
La Düsseldorf,
Country Joe & The Fish,
Soft Cell,
Flipper,
Index,
Throbbing Gristle,
Buzzcocks,
Nas,
Scratch Acid,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.