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 Chile and from Milan.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Sao Paulo.
I'm losing my edge to the art-school Delhi 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 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 Heavy D & The Boyz to the electroclash kids.
I played it at Trash.
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 Warsaw. All the underground hits.
All Fad Gadget tracks. I heard you have a vinyl of every Michelle Simonal record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Technova,
La Düsseldorf,
Desert Stars,
The United States of America,
Anakelly,
Larry & the Blue Notes,
Minutemen,
Lou Reed & Metallica,
Glenn Branca,
Lungfish,
Grandmaster Flash,
Arcadia,
The Monochrome Set,
The Gories,
Deutsch Amerikanische Freundschaft,
The Techniques,
Connie Case,
Judy Mowatt,
Quadrant,
Peter & Gordon,
the Normal,
The Dirtbombs,
Erasure,
Michelle Simonal,
OOIOO,
Bush Tetras,
Vladislav Delay,
Thinking Fellers Union Local 282,
Dark Day,
Rufus Thomas,
Faraquet,
Janne Schatter,
PIL,
B.T. Express,
Major Organ And The Adding Machine,
The Litter,
The Neon Judgement,
Harry Pussy,
Matthew Bourne,
Lakeside,
Nirvana,
Jesper Dahlback,
Masters at Work,
Au Pairs,
Al Stewart,
the Bar-Kays,
E-Dancer,
Todd Rundgren,
Outsiders,
Kerri Chandler,
Freddie Wadling,
Yaz,
Supertramp,
Joyce Sims,
Sun Ra,
Avey Tare,
The Leaves,
Clear Light,
Joe Smooth,
Nas,
Dawn Penn,
The Motions, The Motions, The Motions, The Motions.
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.