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 Zimbabwe and from Madrid.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Mexico City and Philadelphia.
I'm losing my edge to the art-school Lille 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Robert Görl to the jazz kids.
I played it at the Spitz.
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 Marvin Gaye. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes 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 oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gap Band,
Sly & The Family Stone,
Junior Murvin,
Pere Ubu,
A Flock of Seagulls,
Joy Division,
Funkadelic,
Fela Kuti,
New York Dolls,
Y Pants,
The Offenders,
The American Breed,
Nick Fraelich,
The Modern Lovers,
Harry Pussy,
Gil Scott-Heron and Jamie xx,
T. Rex,
Bobby Byrd,
Arab on Radar,
The Names,
Joensuu 1685,
Eli Mardock,
Ultramagnetic MC's,
The Blackbyrds,
Thompson Twins,
Howard Jones,
Dave Gahan,
Shoche,
Dorothy Ashby,
Spandau Ballet,
Scott Walker,
JFA,
Pussy Galore,
Alphaville,
Bluetip,
The Tremeloes,
Radiohead,
Niagra,
Scratch Acid,
Vaughan Mason & Crew,
Lizzy Mercier Descloux,
The Searchers,
Ice-T,
Liaisons Dangereuses,
Lafayette Afro Rock Band,
The Sound,
MC5,
The Smiths,
The Selecter,
Inner City,
Masters at Work,
Scan 7,
Michelle Simonal,
Sad Lovers and Giants,
Echo & the Bunnymen,
Maleditus Sound,
The Durutti Column,
Nico,
The Angels of Light,
Orchestral Manoeuvres in the Dark,
Marc Romboy vs. Booka Shade,
Cymande, Cymande, Cymande, Cymande.
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.