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 St Kitts & Nevis and from Mexico City.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Mumbai.
I'm losing my edge to the art-school Paris 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Qualms to the grunge kids.
I played it at the Troubador.
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 Searchers. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every Marine Girls 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 rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blancmange,
Gil Scott-Heron & Brian Jackson,
The Moleskins,
The J.B.'s,
Half Japanese,
Jacques Brel,
The Smoke,
Archie Shepp,
Jesper Dahlback,
Steve Hackett,
The Gladiators,
Electric Light Orchestra,
Sex Pistols,
Can,
Joe Smooth,
Avey Tare,
Young Marble Giants,
The Misunderstood,
The American Breed,
Manfred Mann's Earth Band,
Lalo Schifrin,
Todd Rundgren,
Susan Cadogan,
The Birthday Party,
The Busters,
Lebanon Hanover,
Ossler,
Zapp,
Barrington Levy,
Fear,
Cybotron,
Vaughan Mason & Crew,
Aaron Thompson,
John Cale,
Inner City,
Theoretical Girls,
This Heat,
Soulsonic Force,
Minutemen,
FM Einheit,
Marc Almond,
New York Dolls,
Ludus,
Neu!,
Terrestrial Tones,
Soft Cell,
Icehouse,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Lizzy Mercier Descloux,
Swell Maps,
Aural Exciters,
Sunsets and Hearts,
The Chocolate Watch Band,
Hasil Adkins,
The Shadows of Knight,
Eurythmics,
Donald Byrd,
Lou Christie,
The Golliwogs,
Pylon,
The Slackers,
Man Eating Sloth, Man Eating Sloth, Man Eating Sloth, Man Eating Sloth.
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.