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 Ivory Coast and from London.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Halifax and Lille.
I'm losing my edge to the art-school Cairo 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb 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 Victims to the dance kids.
I played it at CBGB's.
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 The Mighty Diamonds. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every Scratch Acid 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners 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?
Brand Nubian,
The Slackers,
Radiopuhelimet,
DNA,
Motorama,
Lonnie Liston Smith,
Spandau Ballet,
The Evens,
Roxette,
Rapeman,
Röyhkä ja Rättö ja Lehtisalo,
10cc,
Kayak,
Franke,
Bad Manners,
Bobby Hutcherson,
The Martian,
Spoonie Gee,
The Cramps,
Gian Franco Pienzio,
Audionom,
The Pretty Things,
John Cale,
Negative Approach,
Kerrie Biddell,
Bobby Byrd,
LL Cool J,
Erasure,
The Dirtbombs,
Eric Copeland,
Shoche,
Godley & Creme,
Bootsy Collins,
Siouxsie and the Banshees,
The Standells,
48th St. Collective,
Deadbeat,
Reagan Youth,
Dorothy Ashby,
Wally Richardson,
Man Parrish,
Mission of Burma,
Fatback Band,
Captain Beefheart & His Magic Band,
Essential Logic,
Leonard Cohen,
Fat Boys,
The Offenders,
Heaven 17,
The Searchers,
Soul II Soul,
John Coltrane,
Soulsonic Force,
Lou Reed,
Youth Brigade,
Radio Birdman,
Robert Wyatt,
Wings,
Kevin Saunderson,
Janne Schatter,
DJ Style,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.