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 Argentina and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1975.
I'm losing my edge.
To all the kids in Shanghai and Glasgow.
I'm losing my edge to the art-school Manila 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 marimba 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 Flipper to the disco 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 Moss Icon. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Letta Mbulu record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Boredoms,
Stiv Bators,
Josef K,
The Five Americans,
The Gories,
Roy Ayers,
Darondo,
Masters at Work,
Kenny Larkin,
Orchestral Manoeuvres in the Dark,
Radiopuhelimet,
The Vogues,
Michelle Simonal,
Strawberry Alarm Clock,
the Normal,
Fat Boys,
The Cowsills,
Lonnie Liston Smith,
La Düsseldorf,
Erasure,
The Electric Prunes,
Camouflage,
Joe Smooth,
The Mighty Diamonds,
UT,
The Seeds,
Super Lover Cee & Casanova Rud,
The Evens,
David McCallum,
The Searchers,
Intrusion,
Youth Brigade,
Selector Dub Narcotic,
Major Organ And The Adding Machine,
John Cale,
This Heat,
The Stooges,
Moebius,
Kayak,
Ultravox,
Avey Tare & Kría Brekkan,
Electric Prunes,
Janne Schatter,
The Walker Brothers,
Scott Walker,
The Residents,
Cabaret Voltaire,
Barrington Levy,
Funkadelic,
Outsiders,
The Barracudas,
Reagan Youth,
Public Enemy,
T. Rex,
The Index,
Leonard Cohen,
Marcia Griffiths,
Jawbox,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.