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 Bangladesh and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1960 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Toronto.
I'm losing my edge to the art-school New York 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 Howard Jones to the techno kids.
I played it at Cafe Wha.
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 Clear Light. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Y Pants 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erasure,
Eurythmics,
Bill Near,
H. Thieme,
Bobby Sherman,
The Sound,
Bobbi Humphrey,
Wire,
Matthew Halsall,
Japan,
The Mummies,
Urselle,
Notorious Big And Bone Thugs,
Rapeman,
Oppenheimer Analysis,
Dave Gahan,
Roger Hodgson,
Main Source,
Public Image Ltd.,
Sixth Finger,
Qualms,
The Angels of Light,
John Lydon,
Drive Like Jehu,
Hashim,
The Gladiators,
Easy Going,
Howard Jones,
Shuggie Otis,
Colin Newman,
DJ Style,
Electric Light Orchestra,
Model 500,
Aloha Tigers,
Panda Bear,
Monks,
Television,
Roy Ayers Ubiquity,
Minnie Riperton,
Grey Daturas,
Boredoms,
Trumans Water,
Loose Ends,
Blake Baxter,
Cameo,
Cabaret Voltaire,
Gil Scott-Heron & Brian Jackson,
Echo & the Bunnymen,
Erykah Badu,
Cluster,
Audionom,
Susan Cadogan,
Letta Mbulu,
Jesper Dahlbäck,
Altered Images,
ABBA,
Angels of Light & Akron/Family,
Fat Boys,
Blossom Toes,
Kerrie Biddell,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.