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 Saudi Arabia and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1977.
I'm losing my edge.
To all the kids in London and Spokane.
I'm losing my edge to the art-school Stockholm 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator 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 Quadrant to the disco 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 Arab on Radar. All the underground hits.
All Chrome tracks. I heard you have a vinyl of every A Flock of Seagulls 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 '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Young Rascals,
Gichy Dan,
Gary Puckett & The Union Gap,
Index,
The Remains,
The Tremeloes,
Howard Jones,
Black Moon,
Anakelly,
The Move,
Lakeside,
Gang Starr,
Monks,
Aural Exciters,
Wolf Eyes,
Motorama,
DeepChord presents Echospace,
Fort Wilson Riot,
Dave Gahan,
Aswad,
Stiv Bators,
Sister Nancy,
Boz Scaggs,
Frankie Knuckles,
Barbara Tucker,
Joy Division,
Skriet,
Peter and Kerry,
Interpol,
Ronnie Foster,
The Cosmic Jokers,
Half Japanese,
Aloha Tigers,
Faust,
U.S. Maple,
Public Image Ltd.,
Kango’s Stein Massive,
Judy Mowatt,
Nick Fraelich,
Erykah Badu,
Pere Ubu,
Buzzcocks,
Siouxsie and the Banshees,
Bauhaus,
Franke,
Amon Düül,
Tears for Fears,
Lower 48,
Davy DMX,
Sam Rivers,
Sandy B,
Brothers Johnson,
Unrelated Segments,
Inner City,
The Pop Group,
Jacob Miller,
Major Organ And The Adding Machine,
Jeff Mills,
The Evens,
Rahsaan Roland Kirk,
Hardrive,
The Walker Brothers,
Ultramagnetic MC's,
The Invisible,
H. Thieme, H. Thieme, H. Thieme, H. Thieme.
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.