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 Mauritius and from Beijing.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Paris.
I'm losing my edge to the art-school Taipei 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 Robert Palmer 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 Nik Kershaw to the grunge 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 Sexual Harrassment. All the underground hits.
All The Kinks tracks. I heard you have a vinyl of every The Index record on German import.
I heard that you have a white label of every seminal disco 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 marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket 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?
Red Lorry Yellow Lorry,
Selector Dub Narcotic,
Whodini,
Flamin' Groovies,
Pete Rock & C.L. Smooth,
Fifty Foot Hose,
Kauko Röyhkä ja Narttu,
Popol Vuh,
Average White Band,
The Shadows of Knight,
Lyres,
Traffic Nightmare,
Robert Hood,
Brass Construction,
The Grass Roots,
Gerry Rafferty,
Mission of Burma,
Kas Product,
Deutsch Amerikanische Freundschaft,
Art Ensemble Of Chicago,
Siglo XX,
Sixth Finger,
Bush Tetras,
Jeff Mills,
New Age Steppers,
Tubeway Army,
Manfred Mann's Earth Band,
Connie Case,
Cecil Taylor,
Youth Brigade,
Boredoms,
John Lydon,
Lalo Schifrin,
Joy Division,
Man Eating Sloth,
Oneida,
Lou Reed,
FM Einheit,
Richard Hell and the Voidoids,
Spoonie Gee,
The Neon Judgement,
Skarface,
Newcleus,
Grandmaster Flash and the Furious Five,
The Young Rascals,
Quando Quango,
CMW,
Gang of Four,
Roy Ayers,
Yaz,
Nick Fraelich,
World's Most,
The Golliwogs,
F. McDonald,
Cheater Slicks,
Marc Almond,
Ajijia Myrayebe,
Johnny Osbourne,
Pantytec,
Angels of Light & Akron/Family, Angels of Light & Akron/Family, Angels of Light & Akron/Family, Angels of Light & Akron/Family.
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.