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 Zambia and from Lagos.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Delhi and London.
I'm losing my edge to the art-school Sao Paulo 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 The Invisible to the techno 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 Gregory Isaacs. All the underground hits.
All Flash Fearless tracks. I heard you have a vinyl of every Quando Quango record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
The Barracudas,
Blossom Toes,
Adolescents,
Terrestrial Tones,
The Motions,
Rhythm & Sound,
Simply Red,
Andrew Ashong & Theo Parrish,
Gil Scott-Heron and Jamie xx,
U.S. Maple,
Crash Course in Science,
Pierre Henry,
Nico,
Black Flag,
The Blackbyrds,
Bootsy Collins,
The American Breed,
JFA,
Yazoo,
The Dirtbombs,
DNA,
Make Up,
The Dave Clark Five,
Stockholm Monsters,
Gian Franco Pienzio,
Lebanon Hanover,
Arcadia,
Rowland S Howard / Lydia Lunch,
Mars,
Con Funk Shun,
Franke,
Super Lover Cee & Casanova Rud,
the Association,
Ultravox,
Barrington Levy,
Gerry Rafferty,
Jacques Brel,
Roger Hodgson,
10cc,
Flipper,
David Bowie,
Davy DMX,
Loose Ends,
Clear Light,
Red Lorry Yellow Lorry,
Can,
Fela Kuti,
X-101,
ABBA,
Bobby Sherman,
Lonnie Liston Smith,
The United States of America,
Crispy Ambulance,
Deepchord,
Major Organ And The Adding Machine,
Harpers Bizarre,
Marvin Gaye,
Louis and Bebe Barron,
The Cure,
New Order,
Underground Resistance,
Talk Talk,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.