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 Germany and from Delhi.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Hong Kong.
I'm losing my edge to the art-school Madrid 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 Zapp practice in a loft in Hamilton.
I was working on the spring reverb 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 New York Dolls to the rock 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 The Index. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Oblivians record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
London Community Gospel Choir,
Nick Fraelich,
Robert Görl,
Chrome,
Ludus,
Art Ensemble Of Chicago,
X-101,
Erasure,
Television Personalities,
Girls At Our Best!,
Steve Hackett,
The Durutti Column,
Gil Scott-Heron and Jamie xx,
Gichy Dan,
Barry Ungar,
The Electric Prunes,
Magazine,
Ralphi Rosario,
Von Mondo,
The Names,
Ronnie Foster,
Arab on Radar,
Quantec,
Tommy Roe,
The Stooges,
Marcia Griffiths,
Cybotron,
Unwound,
The Fire Engines,
Major Organ And The Adding Machine,
Brothers Johnson,
Orchestral Manoeuvres in the Dark,
Masters at Work,
Bobby Hutcherson,
The Seeds,
Roger Hodgson,
ABBA,
Ice-T,
The Misunderstood,
Outsiders,
the Soft Cell,
Ultra Naté,
Archie Shepp,
Lyres,
Röyhkä ja Rättö ja Lehtisalo,
Juan Atkins,
MC5,
Public Enemy,
John Coltrane,
Franke,
Swans,
Tim Buckley,
Sällskapet,
The Moody Blues,
Don Cherry,
Lakeside,
JFA,
Laurel Aitken,
The Victims,
Ronan, Ronan, Ronan, Ronan.
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.