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 Romania and from Shanghai.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Seoul and Portland.
I'm losing my edge to the art-school Lagos 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 Roxy Music to the jazz kids.
I played it at the Spitz.
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 Big Daddy Kane. All the underground hits.
All The Cure tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neu!,
Country Teasers,
Blancmange,
Ten City,
Flash Fearless,
Talk Talk,
Yellowson,
Gregory Isaacs,
Skarface,
The Mojo Men,
Chrome,
DJ Style,
Lalo Schifrin,
Half Japanese,
Yazoo,
The Remains,
Magazine,
The Pop Group,
Suburban Knight,
The Red Krayola,
T.S.O.L.,
Procol Harum,
Alison Limerick,
The Human League,
Blossom Toes,
Mantronix,
Leonard Cohen,
Absolute Body Control,
The Neon Judgement,
Brass Construction,
Michelle Simonal,
Selector Dub Narcotic,
the Bar-Kays,
Mary Jane Girls,
Donny Hathaway,
Archie Shepp,
Ituana,
Ken Boothe,
Swell Maps,
Fatback Band,
The Monochrome Set,
Erykah Badu,
Piero Umiliani,
James White and The Blacks,
Grey Daturas,
Graham Central Station,
Gabor Szabo,
Darondo,
Sex Pistols,
Audionom,
Cal Tjader,
Drexciya,
Von Mondo,
Nas,
T. Rex,
Monks,
Alphaville,
The Barracudas,
The Electric Prunes,
Main Source,
Gerry Rafferty,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.