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 Austria and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1976.
I'm losing my edge.
To all the kids in Salvador and Winnipeg.
I'm losing my edge to the art-school Cairo 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 organ 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 John Foxx to the disco 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 Ohio Players. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Mantronix record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
Al Stewart,
Orchestral Manoeuvres in the Dark,
Tropical Tobacco,
Fatback Band,
Grauzone,
Pagans,
Bang on a Can All-Stars,
Sandy B,
Cybotron,
Scratch Acid,
Laurel Aitken,
Eyeless In Gaza,
The Real Kids,
The Cosmic Jokers,
Peter Gordon & Love of Life Orchestra,
Arcadia,
Kayak,
Subhumans,
Television,
David Bowie,
Nas,
Tommy Roe,
Bizarre Inc.,
Connie Case,
Franke,
Masters at Work,
Eden Ahbez,
Jesper Dahlbäck,
Rufus Thomas,
Pantytec,
Crash Course in Science,
Cabaret Voltaire,
Fifty Foot Hose,
KRS-One,
The Neon Judgement,
Gang of Four,
Electric Prunes,
Das Ding,
Camron Feat. Jay Z And Juelz,
Fat Boys,
The Last Poets,
Spandau Ballet,
Man Parrish,
48th St. Collective,
Kerri Chandler,
Carl Craig,
Mad Mike,
Bang On A Can,
Eli Mardock,
Whodini,
Brass Construction,
Marine Girls,
CMW,
Boredoms,
Young Marble Giants,
Wire,
Clear Light,
The Tremeloes,
Talk Talk,
Eurythmics,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.