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 Honduras and from Hong Kong.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Hong Kong.
I'm losing my edge to the art-school Beijing 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the linndrum 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 Gian Franco Pienzio to the dance kids.
I played it at the Roxy.
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 John Coltrane. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Nik Kershaw record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Unwound record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Eric B and Rakim,
Funkadelic,
Suicide,
Zero Boys,
Lower 48,
Electric Prunes,
Saccharine Trust,
The Angels of Light,
Magazine,
The Pop Group,
Icehouse,
Barrington Levy,
Janne Schatter,
Bootsy's Rubber Band,
The Durutti Column,
Pussy Galore,
Carl Craig,
The Skatalites,
Lou Christie,
Sad Lovers and Giants,
Model 500,
Shoche,
Y Pants,
Juan Atkins,
The Star Department,
Prince Buster,
Parry Music,
Gastr Del Sol,
Little Man,
DeepChord presents Echospace,
The Electric Prunes,
Toni Rubio,
Boredoms,
Letta Mbulu,
Ten City,
Depeche Mode,
Pete Rock & C.L. Smooth,
Urselle,
Grandmaster Flash,
The Fugs,
Barry Ungar,
Bluetip,
The Chocolate Watch Band,
The Smiths,
Slave,
The Jesus and Mary Chain,
Camron Feat. Memphis Bleek And Beenie Seigel,
Scion,
Susan Cadogan,
The Fuzztones,
Bronski Beat,
Manfred Mann's Earth Band,
Tommy Roe,
Robert Wyatt,
Gerry Rafferty,
The Mighty Diamonds,
London Community Gospel Choir,
Infiniti,
The Fortunes,
Mo-Dettes,
The Cramps, The Cramps, The Cramps, The Cramps.
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.