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 Denmark and from Paris.
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 1971.
I'm losing my edge.
To all the kids in Shanghai and Manchester.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Misunderstood to the grime 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 Morten Harket. All the underground hits.
All AZ tracks. I heard you have a vinyl of every the Human League record on German import.
I heard that you have a white label of every seminal dance 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 a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Eric B and Rakim record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
Moby Grape,
Deutsch Amerikanische Freundschaft,
The Flesh Eaters,
Radio Birdman,
The Real Kids,
The Chocolate Watch Band,
ABC,
Flamin' Groovies,
Severed Heads,
The Index,
Spandau Ballet,
Pet Shop Boys,
Swans,
Eddi Front,
Stiv Bators,
Stetsasonic,
Robert Hood,
Robert Görl,
Magma,
Clear Light,
Stockholm Monsters,
The Gladiators,
Blossom Toes,
Lakeside,
It's A Beautiful Day,
Glambeats Corp.,
Andrew Ashong & Theo Parrish,
The Victims,
The Slackers,
Marc Almond,
Andrew Hill,
The Blackbyrds,
World's Most,
Notorious BIG live in Amsterdam,
Kaleidoscope,
Todd Rundgren,
Lafayette Afro Rock Band,
The Techniques,
The Smiths,
Thompson Twins,
Fugazi,
Funkadelic,
Fluxion,
Mo-Dettes,
Eli Mardock,
Sunsets and Hearts,
The Gories,
Aloha Tigers,
Roy Ayers,
Rekid,
Kevin Saunderson,
Alton Ellis,
Gang of Four,
Funky Four + One,
Rowland S Howard / Lydia Lunch,
Terror Squad Feat. Camron,
The Gap Band,
Country Teasers,
Lebanon Hanover,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.