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 Tokyo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Calgary and Copenhagen.
I'm losing my edge to the art-school Beijing 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 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 Alice Coltrane to the disco kids.
I played it at the Crocodile.
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 Roxy Music. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every The Residents record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
Magazine,
Scan 7,
Deepchord,
Kings Of Tomorrow,
Rotary Connection,
The Human League,
Toni Rubio,
Subhumans,
Junior Murvin,
The Detroit Cobras,
Masters at Work,
James Chance & The Contortions,
The Music Machine,
Cheater Slicks,
The Victims,
The Move,
Sonny Sharrock,
Rhythm & Sound,
Siglo XX,
Gabor Szabo,
The New Christs,
Colin Newman,
Oneida,
Peter & Gordon,
Big Daddy Kane,
Television,
Hashim,
Al Stewart,
The Monks,
Magma,
June of 44,
Japan,
Hasil Adkins,
Bizarre Inc.,
Intrusion,
The Real Kids,
The Associates,
Lou Reed,
Moebius,
Lower 48,
Franke,
The Birthday Party,
Cabaret Voltaire,
The Toasters,
China Crisis,
Outsiders,
The Young Rascals,
Flash Fearless,
Organ,
Barrington Levy,
The Fortunes,
Girls At Our Best!,
Arab on Radar,
Erykah Badu,
Gang Gang Dance,
Teenage Jesus and the Jerks,
Marine Girls,
Joey Negro,
Whodini, Whodini, Whodini, Whodini.
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.