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 Taiwan and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1974.
I'm losing my edge.
To all the kids in Lagos and Lyon.
I'm losing my edge to the art-school Bremen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the rhodes 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 Alphaville to the funk 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 Jeff Lynne. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every The Sound record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a JFA record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
Bush Tetras,
Sunsets and Hearts,
Flipper,
Howard Jones,
Smog,
Sight & Sound,
Erasure,
Vaughan Mason & Crew,
Buzzcocks,
Sam Rivers,
Ossler,
Black Pus,
Crispian St. Peters,
Franke,
Joy Division,
Stockholm Monsters,
Johnny Osbourne,
Kurtis Blow,
Vainqueur,
Echo & the Bunnymen,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bronski Beat,
L. Decosne,
H. Thieme,
Moebius,
Procol Harum,
Joey Negro,
Funkadelic,
Art Ensemble Of Chicago,
Red Lorry Yellow Lorry,
Fort Wilson Riot,
Groovy Waters,
Camron Feat. Memphis Bleek And Beenie Seigel,
Alison Limerick,
Young Marble Giants,
Talk Talk,
Heaven 17,
Gregory Isaacs,
Roy Ayers,
Sun City Girls,
Lebanon Hanover,
Eve St. Jones,
The Residents,
The Zeros,
Jesper Dahlbäck,
Erykah Badu,
Pagans,
The Black Dice,
This Heat,
Mad Mike,
Roy Ayers Ubiquity,
Cecil Taylor,
Slick Rick,
Bad Manners,
Camouflage,
The Birthday Party,
Suicide,
Barry Ungar,
Radiohead,
Niagra,
The American Breed, The American Breed, The American Breed, The American Breed.
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.