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 Venezuela and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Columbus and Delhi.
I'm losing my edge to the art-school Mexico City 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the synthesizer 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 Offenders to the dance 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 Intrusion. All the underground hits.
All Ultimate Spinach tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
New York Dolls,
Dave Gahan,
Porter Ricks,
Con Funk Shun,
Gregory Isaacs,
Pole,
The Remains,
Goldenarms,
Al Stewart,
Sly & The Family Stone,
Iggy Pop,
Sonny Sharrock,
ABC,
The Sound,
Jeru the Damaja,
Ajijia Myrayebe,
China Crisis,
The Fuzztones,
Janne Schatter,
the Germs,
Rowland S Howard / Lydia Lunch,
Lou Reed & John Cale,
Symarip,
World's Most,
The Moody Blues,
Fort Wilson Riot,
Spandau Ballet,
Minny Pops,
Ken Boothe,
Gichy Dan,
Suburban Knight,
Isaac Hayes,
Agent Orange,
Rites of Spring,
James Chance & The Contortions,
Minor Threat,
The Neon Judgement,
The Standells,
Eve St. Jones,
Leonard Cohen,
Severed Heads,
Marcia Griffiths,
Stiv Bators,
Brass Construction,
The Count Five,
H. Thieme,
Anakelly,
Boz Scaggs,
Faraquet,
Girls At Our Best!,
Scott Walker + Sunn O))),
Chrome,
Interpol,
Bad Manners,
Lee Hazlewood,
Masters at Work,
The Men They Couldn't Hang,
Bootsy's Rubber Band,
Urselle,
Aural Exciters,
Morten Harket,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.