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 Cuba and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1965 to 1979.
I'm losing my edge.
To all the kids in Spokane and Houston.
I'm losing my edge to the art-school Manchester 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 Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Marmalade to the rap kids.
I played it at the Hacienda.
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 Echo & the Bunnymen. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Shuggie Otis 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 '90s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Anakelly record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
The Modern Lovers,
Grey Daturas,
Amazonics,
China Crisis,
Pulsallama,
Crispy Ambulance,
Unwound,
The Dead C,
Black Flag,
Lebanon Hanover,
The Toasters,
Loose Ends,
Lungfish,
Be Bop Deluxe,
The Doors,
the Slits,
Theoretical Girls,
Lee Hazlewood,
Byron Stingily,
Larry & the Blue Notes,
Henry Cow,
Slick Rick,
Marcia Griffiths,
The Last Poets,
Soulsonic Force,
The Cramps,
Guru Guru,
Jeff Lynne,
Barclay James Harvest,
The Birthday Party,
The Standells,
Minor Threat,
It's A Beautiful Day,
The Remains,
Man Eating Sloth,
The Durutti Column,
Minnie Riperton,
David McCallum,
Nico,
Orchestral Manoeuvres in the Dark,
Slave,
Country Teasers,
Brick,
Bill Near,
cv313,
Red Lorry Yellow Lorry,
Darondo,
Boz Scaggs,
Josef K,
Eyeless In Gaza,
Cecil Taylor,
Minny Pops,
Alice Coltrane,
Dark Day,
Average White Band,
The Fall,
The Leaves,
LL Cool J,
Marvin Gaye,
Rod Modell,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.