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 Ireland and from Portland.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Madrid and Paris.
I'm losing my edge to the art-school Portland 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the rhodes 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 Kayak to the grunge kids.
I played it at the 40 Watt.
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 The Gap Band. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Selector Dub Narcotic 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 '70s cut and another box set from the '80s.
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 Bad Manners record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
The Doobie Brothers,
Mandrill,
the Normal,
Kurtis Blow,
Judy Mowatt,
a-ha,
Minor Threat,
Ken Boothe,
Ice-T,
Aloha Tigers,
The Star Department,
Bronski Beat,
Tubeway Army,
X-101,
Ten City,
Heavy D & The Boyz,
Lalo Schifrin,
Rekid,
Todd Rundgren,
Pussy Galore,
Bad Manners,
Art Ensemble Of Chicago,
Juan Atkins,
James White and The Blacks,
Electric Light Orchestra,
Minny Pops,
Underground Resistance,
Symarip,
Nick Cave & The Bad Seeds,
Technova,
Whodini,
Piero Umiliani,
The Real Kids,
EPMD,
Roy Ayers Ubiquity,
Rosa Yemen,
The Gap Band,
Altered Images,
DJ Style,
Byron Stingily,
The Remains,
Ronnie Foster,
Roxy Music,
Newcleus,
The Cramps,
Matthew Bourne,
Sonic Youth,
Marine Girls,
Yellowson,
DNA,
Pantytec,
The Music Machine,
The Human League,
Faust,
Kayak,
Alison Limerick,
Rowland S Howard / Lydia Lunch,
Flash Fearless,
Motorama,
Wire, Wire, Wire, Wire.
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.