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 Israel and from Manila.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1975.
I'm losing my edge.
To all the kids in Stockholm and Sao Paulo.
I'm losing my edge to the art-school Shanghai 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the harpsichord 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 Excepter to the funk 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 Drive Like Jehu. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Jacob Miller record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Richard Hell and the Voidoids,
Donny Hathaway,
Tim Buckley,
Big Daddy Kane,
The Gories,
Faust,
The Fall,
James Chance & The Contortions,
Trumans Water,
Eric B and Rakim,
Young Marble Giants,
Deakin,
Moebius,
OOIOO,
The Trojans,
The New Christs,
Public Image Ltd.,
the Fania All-Stars,
Lizzy Mercier Descloux,
Easy Going,
Glambeats Corp.,
Parry Music,
Wire,
Royal Trux,
Lightning Bolt,
The Sonics,
Minor Threat,
Buzzcocks,
Quadrant,
Ponytail,
Make Up,
Cheater Slicks,
Pagans,
Grandmaster Flash and the Furious Five,
Babytalk,
Desert Stars,
Deutsch Amerikanische Freundschaft,
Loose Ends,
Scion,
Roy Ayers Ubiquity,
Tears for Fears,
Qualms,
Main Source,
A Flock of Seagulls,
The Zeros,
Von Mondo,
Thee Headcoats,
Kurtis Blow,
Eric Copeland,
Yaz,
Skarface,
The American Breed,
Radiohead,
Zapp,
The Smoke,
Soft Machine,
The Durutti Column,
Connie Case,
Roy Ayers,
Hasil Adkins,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.