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 Macedonia and from Bologna.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Seoul and Philadelphia.
I'm losing my edge to the art-school Seoul 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 at the first Suicide practice in a loft in New York.
I was working on the clarinet sounds with much patience.
I was there when Robert Palmer 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 Bizarre Inc. to the techno kids.
I played it at the Crocodile.
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 Sun Ra Arkestra. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every Theoretical Girls record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
the Association,
Orchestral Manoeuvres in the Dark,
K-Klass,
The Index,
Second Layer,
Moss Icon,
Minor Threat,
Rhythim Is Rhythim,
Pierre Henry,
Swell Maps,
KRS-One,
Steve Hackett,
The Evens,
Glambeats Corp.,
Gary Puckett & The Union Gap,
Dorothy Ashby,
Stereo Dub,
F. McDonald,
The J.B.'s,
Amon Düül II,
Harpers Bizarre,
Vainqueur,
Bronski Beat,
Fort Wilson Riot,
Thee Headcoats,
Al Stewart,
Angry Samoans,
Pere Ubu,
The Tremeloes,
Main Source,
Ash Ra Tempel,
Nick Cave & The Bad Seeds,
Blancmange,
Amazonics,
Bauhaus,
Marshall Jefferson,
Teenage Jesus and the Jerks,
Pylon,
Jeff Lynne,
Tears for Fears,
Bootsy Collins,
Bobby Sherman,
The Men They Couldn't Hang,
Angels of Light & Akron/Family,
Jesper Dahlbäck,
Kerrie Biddell,
The Searchers,
China Crisis,
Yusef Lateef,
Slave,
Boz Scaggs,
Brick,
Lightning Bolt,
Ultra Naté,
Porter Ricks,
New Age Steppers,
Sister Nancy,
Marc Almond,
Sunsets and Hearts,
Audionom,
Subhumans,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.