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 San Marino and from Beijing.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1964 to 1970.
I'm losing my edge.
To all the kids in Lille and Tokyo.
I'm losing my edge to the art-school Calgary 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the mellotron 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 The Angels of Light to the punk kids.
I played it at the Spitz.
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 Black Sheep. All the underground hits.
All Magma tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
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 Rod Modell record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Zero Boys,
Connie Case,
Icehouse,
Eve St. Jones,
UT,
Marine Girls,
Liaisons Dangereuses,
Bobby Byrd,
Red Lorry Yellow Lorry,
the Swans,
Joyce Sims,
Faraquet,
Glambeats Corp.,
Dr. Dre and Snoop Doggy Dog,
Jesper Dahlback,
Kerrie Biddell,
The Remains,
Ossler,
Gong,
Spandau Ballet,
T. Rex,
Das Ding,
Lou Reed & John Cale,
Cabaret Voltaire,
Jerry Gold Smith,
The Mojo Men,
Vainqueur,
Barrington Levy,
The Smoke,
Stockholm Monsters,
Mo-Dettes,
Lonnie Liston Smith,
London Community Gospel Choir,
Rhythim Is Rhythim,
Aural Exciters,
Shuggie Otis,
The Techniques,
Cybotron,
Yellowson,
The Vogues,
Marc Almond,
The Fuzztones,
Fugazi,
A Certain Ratio,
Marmalade,
New Order,
The Gories,
Toni Rubio,
Silicon Teens,
Tropical Tobacco,
Roxette,
The Human League,
Boredoms,
Clear Light,
The Index,
Jimmy McGriff,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.