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 Iraq and from Lyon.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Toronto and Delhi.
I'm losing my edge to the art-school Taipei 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Wire to the punk kids.
I played it at the Astoria.
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 Loose Ends. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Lafayette Afro Rock Band 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 '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Spoonie Gee,
The Fugs,
Neil Young & Crazy Horse,
The Motions,
The Wake,
Quantec,
Suburban Knight,
Jesper Dahlback,
The Fire Engines,
Gang Starr,
Public Enemy,
The Cowsills,
Oneida,
ABC,
The Gap Band,
Bang On A Can,
Kool G Rap & DJ Polo,
Echo & the Bunnymen,
Alice Coltrane,
Orchestral Manoeuvres in the Dark,
Blossom Toes,
Throbbing Gristle,
The Last Poets,
David Axelrod,
Fatback Band,
Fela Kuti,
Sly & The Family Stone,
A Flock of Seagulls,
Warren Ellis,
Animal Collective,
Scion,
Sight & Sound,
The Associates,
Radio Birdman,
Man Parrish,
Mars,
Peter & Gordon,
Roxette,
Stereo Dub,
Warsaw,
Roger Hodgson,
The Trojans,
Johnny Clarke,
Crime,
Ultravox,
Groovy Waters,
Motorama,
The Walker Brothers,
Electric Light Orchestra,
The Monochrome Set,
The Angels of Light,
The Remains,
Japan,
Half Japanese,
The Five Americans,
Bizarre Inc.,
Index,
Accadde A,
Hashim,
Scrapy,
Pharaoh Sanders and the Fire Engines,
Toni Rubio,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.