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 Japan and from Bologna.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1960 to 1975.
I'm losing my edge.
To all the kids in Spokane and Copenhagen.
I'm losing my edge to the art-school Paris 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 David Bowie 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 Dorothy Ashby to the dance kids.
I played it at the Crocodile.
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 Wire. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Chrome record on German import.
I heard that you have a white label of every seminal funk 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 guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
Barry Ungar,
Crooked Eye,
Drive Like Jehu,
The Young Rascals,
the Germs,
Ossler,
L. Decosne,
The Electric Prunes,
The Vogues,
Quadrant,
Pussy Galore,
Severed Heads,
Rakim,
The Toasters,
Gabor Szabo,
Electric Light Orchestra,
Faraquet,
Gil Scott Heron,
Andrew Ashong & Theo Parrish,
The Mighty Diamonds,
La Düsseldorf,
The Slits,
The New Christs,
The Motions,
Orchestral Manoeuvres in the Dark,
Swell Maps,
Youth Brigade,
The Sound,
Kings Of Tomorrow,
Ken Boothe,
Kerrie Biddell,
Marc Almond,
Dorothy Ashby,
Super Lover Cee & Casanova Rud,
Urselle,
Minor Threat,
Soul Sonic Force,
Morten Harket,
Kas Product,
Tomorrow,
Radiohead,
The Walker Brothers,
The Grass Roots,
a-ha,
Kurtis Blow,
Matthew Halsall,
Larry & the Blue Notes,
Heavy D & The Boyz,
The Neon Judgement,
Fat Boys,
Jeru the Damaja,
Nick Fraelich,
Cymande,
John Holt,
Junior Murvin,
The Monks,
The Litter,
Isaac Hayes,
Rapeman,
Lalann,
The West Coast Pop Art Experimental Band,
Cameo,
Heaven 17, Heaven 17, Heaven 17, Heaven 17.
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.