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 Lebanon and from Copenhagen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1967 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Madrid.
I'm losing my edge to the art-school Shanghai 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 The Sisters of Mercy to the rap kids.
I played it at Cafe Wha.
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 Erasure. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every Art Ensemble Of Chicago 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 '70s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Television,
Deakin,
Rahsaan Roland Kirk,
Fear,
Lou Christie,
Mars,
Gil Scott Heron,
Deadbeat,
Accadde A,
The Skatalites,
Stiv Bators,
Girls At Our Best!,
Porter Ricks,
Masters at Work,
Supertramp,
K-Klass,
The Invisible,
The Walker Brothers,
Eve St. Jones,
Fat Boys,
The Grass Roots,
Eric Copeland,
Donny Hathaway,
The Sound,
OOIOO,
John Foxx,
Strawberry Alarm Clock,
The Mojo Men,
Japan,
Cybotron,
James White and The Blacks,
Flipper,
EPMD,
The Zeros,
The Pop Group,
Groovy Waters,
Sun City Girls,
Siouxsie and the Banshees,
New Order,
Excepter,
Quadrant,
T. Rex,
Bobby Sherman,
Clear Light,
Josef K,
Brand Nubian,
R.M.O.,
Public Enemy,
Kayak,
Skriet,
Bad Manners,
Kerrie Biddell,
Vladislav Delay,
LL Cool J,
Nas,
Bobbi Humphrey,
Pierre Henry,
The J.B.'s,
Mary Jane Girls,
Infiniti,
One Last Wish,
Nico,
The Mummies, The Mummies, The Mummies, The Mummies.
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.