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 Honduras and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Houston and Taipei.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Accadde A to the dance kids.
I played it at Cafe Wha.
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 ABBA. All the underground hits.
All Sound Behaviour tracks. I heard you have a vinyl of every Vainqueur 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Skriet record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
Visage,
The Music Machine,
Monolake,
Boredoms,
Roy Ayers Ubiquity,
Connie Case,
Alison Limerick,
Kerrie Biddell,
Robert Görl,
Y Pants,
Electric Light Orchestra,
The Techniques,
Heaven 17,
Steve Hackett,
Mandrill,
Ohio Players,
Icehouse,
Ash Ra Tempel,
Masters at Work,
Tropical Tobacco,
Motorama,
Babytalk,
Blake Baxter,
Wasted Youth,
Eddi Front,
Neil Young & Crazy Horse,
Colin Newman,
Radiopuhelimet,
Public Enemy,
The Trojans,
Absolute Body Control,
Major Organ And The Adding Machine,
Joe Smooth,
Livin' Joy,
T.S.O.L.,
Jacques Brel,
Amazonics,
Fat Boys,
Camouflage,
The Busters,
Beasts of Bourbon,
Stetsasonic,
The Residents,
Scott Walker,
Gil Scott Heron,
Negative Approach,
Marmalade,
The Dead C,
Notorious BIG live in Amsterdam,
Outsiders,
Tubeway Army,
Basic Channel,
Au Pairs,
Pussy Galore,
DJ Sneak,
Television,
Newcleus,
Donny Hathaway,
Technova,
The Offenders,
Girls At Our Best!, Girls At Our Best!, Girls At Our Best!, Girls At Our Best!.
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.