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 Zimbabwe and from Jakarta.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Glasgow.
I'm losing my edge to the art-school Portland 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Mars to the funk kids.
I played it at the Spitz.
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 Blues Magoos. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every The Smoke record on German import.
I heard that you have a white label of every seminal rock 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 theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Robert Görl,
10cc,
Crispy Ambulance,
Jeru the Damaja,
The West Coast Pop Art Experimental Band,
Eric B and Rakim,
Soul II Soul,
Youth Brigade,
Robert Wyatt,
Be Bop Deluxe,
Pagans,
China Crisis,
The Smiths,
In Retrospect,
Jawbox,
Hashim,
Monks,
Heaven 17,
Gil Scott-Heron & Brian Jackson,
Morten Harket,
Red Lorry Yellow Lorry,
Traffic Nightmare,
Cheater Slicks,
The Monks,
T. Rex,
Das Ding,
Basic Channel,
Guru Guru,
The Birthday Party,
Symarip,
Throbbing Gristle,
Severed Heads,
The Seeds,
Deadbeat,
L. Decosne,
Derrick Morgan,
Marc Almond,
DJ Style,
The Cramps,
Fifty Foot Hose,
Nas,
Lalann,
Minny Pops,
Colin Newman,
the Slits,
Teenage Jesus and the Jerks,
Anthony Braxton,
The Fuzztones,
Bush Tetras,
Peter Gordon & Love of Life Orchestra,
Terry Callier,
Rites of Spring,
Jerry Gold Smith,
Maleditus Sound,
The Divine Comedy,
Oneida,
Whodini,
Index,
The Litter,
Siglo XX,
Grandmaster Flash and the Furious Five,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.