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 Malaysia and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1979.
I'm losing my edge.
To all the kids in Halifax and Stockholm.
I'm losing my edge to the art-school Milan 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the synthesizer 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 Silicon Teens to the crunk 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 D'Angelo. All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Rotary Connection record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronan,
The Offenders,
The Smiths,
Bobby Hutcherson,
Outsiders,
The Black Dice,
Dark Day,
Gil Scott-Heron & Brian Jackson,
The Slackers,
Eddi Front,
Icehouse,
Electric Light Orchestra,
The Last Poets,
Mars,
Ten City,
the Association,
Silicon Teens,
Amon Düül II,
the Bar-Kays,
Todd Rundgren,
Soul Sonic Force,
Surgeon,
Liliput,
Barbara Tucker,
Kerri Chandler,
Wolf Eyes,
Lizzy Mercier Descloux,
Saccharine Trust,
Kayak,
The Moleskins,
Das Ding,
the Fania All-Stars,
The Dave Clark Five,
Sunsets and Hearts,
Scratch Acid,
FM Einheit,
Susan Cadogan,
The Buckinghams,
the Swans,
The Alarm Clocks,
Black Sheep,
Stockholm Monsters,
Quando Quango,
The Names,
Accadde A,
The Barracudas,
Animal Collective,
Yaz,
Robert Görl,
June of 44,
Tom Boy,
Ajijia Myrayebe,
The Fire Engines,
Flipper,
Steve Hackett,
Mandrill,
Sun City Girls,
Sex Pistols,
Rhythim Is Rhythim,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.