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 Iraq and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1973.
I'm losing my edge.
To all the kids in New York and Johannesburg.
I'm losing my edge to the art-school Lille 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 1978 at the first Visage practice in a loft in 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 Erasure to the grime 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 Joy Division. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every Zapp record on German import.
I heard that you have a white label of every seminal electroclash 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 linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dave Clark Five,
Jeru the Damaja,
It's A Beautiful Day,
The Golliwogs,
Gichy Dan,
David Axelrod,
The Seeds,
The Associates,
Rakim,
Red Lorry Yellow Lorry,
Buzzcocks,
Can,
The Flesh Eaters,
The Alarm Clocks,
The Fuzztones,
Kenny Larkin,
Wasted Youth,
Cybotron,
Sticky Fingaz feat. Raekwon,
DeepChord presents Echospace,
Little Man,
the Association,
Harpers Bizarre,
Nas,
Rosa Yemen,
Cameo,
Adolescents,
The Monochrome Set,
Vainqueur,
Donald Byrd,
Louis and Bebe Barron,
Warren Ellis,
The Litter,
Big Daddy Kane,
Gil Scott-Heron and Jamie xx,
Yazoo,
Suburban Knight,
Sarah Menescal,
Davy DMX,
Amon Düül,
Chrome,
John Lydon,
Stereo Dub,
Model 500,
Bush Tetras,
Arthur Verocai,
Sun Ra Arkestra,
Bootsy Collins,
ABBA,
Isaac Hayes,
Ultramagnetic MC's,
Gang of Four,
The Music Machine,
Super Lover Cee & Casanova Rud,
Angry Samoans,
Minnie Riperton,
The Standells,
Eli Mardock,
Connie Case,
Joensuu 1685,
Easy Going,
Excepter, Excepter, Excepter, Excepter.
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.