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 Germany and from Philadelphia.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Lagos and Spokane.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Supertramp to the grime kids.
I played it at the 40 Watt.
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 Ultravox. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry 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 '70s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Roger Hodgson record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Whodini,
The Move,
Be Bop Deluxe,
Model 500,
In Retrospect,
Selector Dub Narcotic,
The Detroit Cobras,
Danielle Patucci,
Saccharine Trust,
The New Christs,
Spandau Ballet,
Michelle Simonal,
Eurythmics,
Joey Negro,
Inner City,
Bobby Byrd,
The Fortunes,
Piero Umiliani,
Reuben Wilson,
Lindisfarne,
Soft Machine,
Outsiders,
The Stooges,
Connie Case,
Matthew Halsall,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Charles Mingus,
Lee Hazlewood,
Yusef Lateef,
The Standells,
Rites of Spring,
Hashim,
Rakim,
Rhythm & Sound,
Country Joe & The Fish,
Mo-Dettes,
The Techniques,
the Swans,
Flash Fearless,
Alphaville,
DNA,
Lungfish,
Bill Wells,
Agent Orange,
The Doobie Brothers,
Sällskapet,
Minnie Riperton,
Dark Day,
Mad Mike,
These Immortal Souls,
Slick Rick,
Ultra Naté,
The Shadows of Knight,
Cymande,
Joe Smooth,
Curtis Mayfield,
Quantec,
Oppenheimer Analysis,
Deepchord,
Loose Ends,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.