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 Samoa and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1967 to 1977.
I'm losing my edge.
To all the kids in Milan and Milan.
I'm losing my edge to the art-school Toronto 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the mellotron 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 Vladislav Delay to the disco kids.
I played it at CBGB's.
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 Morten Harket. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every The Golliwogs record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
KRS-One,
New York Dolls,
Lee Hazlewood,
Michelle Simonal,
Fort Wilson Riot,
Main Source,
Peter & Gordon,
Soul Sonic Force,
Kayak,
Gregory Isaacs,
The Young Rascals,
The Invisible,
Bill Wells,
Moby Grape,
Darondo,
Nils Olav,
Kerri Chandler,
Reuben Wilson,
Hoover,
Cheater Slicks,
Gong,
Mandrill,
Zapp,
Cymande,
Scott Walker,
Drexciya,
Patti Smith,
The Happenings,
Rahsaan Roland Kirk,
This Heat,
The Mummies,
Quadrant,
Audionom,
Tim Buckley,
Rosa Yemen,
Neu!,
Barry Ungar,
Ash Ra Tempel,
Gary Puckett & The Union Gap,
The Electric Prunes,
Chrome,
Rotary Connection,
Sun Ra Arkestra,
David Bowie,
Skarface,
Rakim,
Brothers Johnson,
Radiopuhelimet,
Roy Ayers Ubiquity,
Dorothy Ashby,
Avey Tare & Kría Brekkan,
Röyhkä ja Rättö ja Lehtisalo,
Bizarre Inc.,
Duran Duran,
Bad Manners,
Jimmy McGriff,
Super Lover Cee & Casanova Rud,
Sexual Harrassment,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.