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 Somalia and from Mexico City.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Woodstock.
I'm losing my edge to the art-school Toronto 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Godley & Creme to the electroclash kids.
I played it at Cafe Wha.
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 Misunderstood. All the underground hits.
All Average White Band tracks. I heard you have a vinyl of every Angry Samoans record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
The Tremeloes,
Blake Baxter,
Roy Ayers Ubiquity,
Angry Samoans,
Pylon,
Ludus,
Rhythm & Sound,
Soft Cell,
Delon & Dalcan,
Boogie Down Productions,
the Soft Cell,
Bluetip,
Swell Maps,
Section 25,
Supertramp,
Frankie Knuckles,
Kool G Rap & DJ Polo,
Heaven 17,
Unrelated Segments,
Byron Stingily,
Albert Ayler,
Moebius,
Bang on a Can All-Stars,
Amon Düül II,
John Cale,
Jacob Miller,
Cluster,
OOIOO,
Mr. Review,
Lebanon Hanover,
Eve St. Jones,
Erasure,
The Fall,
Lafayette Afro Rock Band,
Kaleidoscope,
Theoretical Girls,
Howard Jones,
Mary Jane Girls,
Derrick May,
Lou Reed & Metallica,
Delta 5,
Joe Finger,
Pole,
The Doobie Brothers,
Robert Görl,
Sandy B,
Metal Thangz,
Magazine,
The Fuzztones,
The Walker Brothers,
Zero Boys,
Kurtis Blow,
Altered Images,
The Angels of Light,
Quando Quango,
Davy DMX,
The Doors,
Flamin' Groovies,
The United States of America,
Bobbi Humphrey,
The Slackers,
T.S.O.L.,
Bobby Byrd,
Echospace, Echospace, Echospace, Echospace.
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.