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 New Zealand and from Seoul.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Paris and Hong Kong.
I'm losing my edge to the art-school Lagos 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 Mistral practice in a loft in Amsterdam.
I was working on the harpsichord 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 Index to the disco kids.
I played it at the 40 Watt.
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 Magazine. All the underground hits.
All Kayak tracks. I heard you have a vinyl of every Michelle Simonal record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Joyce Sims,
Ornette Coleman,
8 Eyed Spy,
Lonnie Liston Smith,
Electric Prunes,
Marvin Gaye,
The Litter,
Masters at Work,
Röyhkä ja Rättö ja Lehtisalo,
OOIOO,
Soulsonic Force,
Roger Hodgson,
Subhumans,
the Swans,
The West Coast Pop Art Experimental Band,
Byron Stingily,
The Star Department,
48th St. Collective,
Robert Wyatt,
Lalann,
The Stooges,
Harpers Bizarre,
Main Source,
Wighnomy Brothers & Robag Wruhme,
The Smoke,
New Age Steppers,
Man Eating Sloth,
Josef K,
EPMD,
Fifty Foot Hose,
Shuggie Otis,
Danielle Patucci,
Dave Gahan,
Idris Muhammad,
Bob Dylan,
Guru Guru,
Cameo,
Barry Ungar,
Roxy Music,
Cheater Slicks,
the Slits,
Maleditus Sound,
Nas,
Skaos,
Gerry Rafferty,
Kayak,
London Community Gospel Choir,
Chris & Cosey,
Au Pairs,
The Associates,
Gang Green,
Tom Boy,
Minny Pops,
Buzzcocks,
Siglo XX,
Radio Birdman,
The American Breed,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.