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 Kenya and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Glasgow.
I'm losing my edge to the art-school Paris 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 marimba 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 Eden Ahbez 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 Detroit Cobras. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Howard Jones 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 '80s cut and another box set from the '90s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
Mary Jane Girls,
The Standells,
Blossom Toes,
E-Dancer,
Barbara Tucker,
The Blackbyrds,
Cecil Taylor,
Robert Görl,
The Fortunes,
Toni Rubio,
Erasure,
Section 25,
World's Most,
Kool Moe Dee,
Robert Hood,
Electric Light Orchestra,
Malaria!,
The Five Americans,
Bronski Beat,
Minutemen,
Inner City,
The Fuzztones,
The Mojo Men,
The Mummies,
Japan,
Gang Gang Dance,
The Fall,
Liaisons Dangereuses,
Unrelated Segments,
Piero Umiliani,
Tears for Fears,
Liliput,
Soft Machine,
Lonnie Liston Smith,
Ash Ra Tempel,
Buzzcocks,
Neil Young & Crazy Horse,
Gary Puckett & The Union Gap,
The Jesus and Mary Chain,
Rotary Connection,
the Swans,
Angry Samoans,
Aloha Tigers,
Siouxsie and the Banshees,
Crooked Eye,
Negative Approach,
Danielle Patucci,
Marc Romboy vs. Booka Shade,
Youth Brigade,
The Alarm Clocks,
Gil Scott-Heron and Jamie xx,
Brothers Johnson,
The Neon Judgement,
Electric Prunes,
Wally Richardson,
Notorious Big And Bone Thugs,
Lungfish,
Aural Exciters,
Gerry Rafferty,
Hoover, Hoover, Hoover, Hoover.
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.