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 Bulgaria and from Glasgow.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 Manila and Jakarta.
I'm losing my edge to the art-school Cairo 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Pantytec to the grunge kids.
I played it at the Hacienda.
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 Freddie Wadling. All the underground hits.
All De La Soul & Jungle Brothers tracks. I heard you have a vinyl of every Jesper Dahlback 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fugs,
Alphaville,
Anthony Braxton,
Camberwell Now,
The Birthday Party,
The Skatalites,
Ultra Naté,
Louis and Bebe Barron,
Kango’s Stein Massive,
Pere Ubu,
Al Stewart,
Smog,
Bill Wells,
Fela Kuti,
Underground Resistance,
Rites of Spring,
Eurythmics,
F. McDonald,
Tim Buckley,
T.S.O.L.,
Nik Kershaw,
Howard Jones,
Brothers Johnson,
Electric Light Orchestra,
Isaac Hayes,
Crash Course in Science,
Lou Christie,
Erasure,
Franke,
Swell Maps,
Zero Boys,
Neil Young,
Essential Logic,
Heaven 17,
Johnny Osbourne,
Bronski Beat,
The Fall,
Boz Scaggs,
Maleditus Sound,
Gerry Rafferty,
Jeru the Damaja,
Spandau Ballet,
Ossler,
Dead Boys,
Deepchord,
Duran Duran,
Young Marble Giants,
Porter Ricks,
Big Daddy Kane,
Eric B and Rakim,
Los Fastidios,
Amazonics,
Jerry's Kids,
Cymande,
Con Funk Shun,
Fatback Band,
The Peanut Butter Conspiracy,
ABC,
Make Up,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.