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 Equatorial Guinea and from Portland.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1978.
I'm losing my edge.
To all the kids in Portland and Columbus.
I'm losing my edge to the art-school Jakarta 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 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 Mark Hollis to the dance 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 Pulsallama. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal jazz 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 clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Todd Rundgren record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fluxion,
Be Bop Deluxe,
Marshall Jefferson,
Piero Umiliani,
The Offenders,
The Real Kids,
Motorama,
Pharaoh Sanders and the Fire Engines,
Zero Boys,
The Monochrome Set,
Zapp,
Ajijia Myrayebe,
Nik Kershaw,
Carl Craig,
World's Most,
Mark Hollis,
Ronnie Foster,
Gang Starr,
the Soft Cell,
The Flesh Eaters,
Clear Light,
The Happenings,
New Age Steppers,
Depeche Mode,
T. Rex,
Average White Band,
Porter Ricks,
Strawberry Alarm Clock,
Bill Near,
Amon Düül II,
Bronski Beat,
Sister Nancy,
A Flock of Seagulls,
Khruangbin,
Blancmange,
Arthur Verocai,
Jacques Brel,
Black Pus,
Rotary Connection,
Pharoah Sanders,
The Cure,
The Slackers,
Ten City,
Bob Dylan,
T.S.O.L.,
Gichy Dan,
Funkadelic,
D'Angelo,
Lightning Bolt,
Arab on Radar,
Sun Ra Arkestra,
PIL,
John Lydon,
Leonard Cohen,
OOIOO,
Connie Case,
Derrick Morgan,
Neil Young,
Notorious Big And Bone Thugs,
Kayak,
Sticky Fingaz feat. Raekwon,
Quantec, Quantec, Quantec, Quantec.
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.