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 Fiji and from Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Calgary.
I'm losing my edge to the art-school Portland 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 1976 at the first Wire practice in a loft in Watford.
I was working on the theremin 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 Matthew Bourne to the jazz 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 Smog. All the underground hits.
All Mo-Dettes tracks. I heard you have a vinyl of every Todd Terry record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your guitar and bought a 808.
I hear that you and your band have sold your 808 and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
Marc Romboy vs. Booka Shade,
Porter Ricks,
Joyce Sims,
Scan 7,
Cabaret Voltaire,
Mad Mike,
Rahsaan Roland Kirk,
Gian Franco Pienzio,
Fela Kuti,
Janne Schatter,
Soft Machine,
Robert Görl,
Alice Coltrane,
The Dave Clark Five,
The Trojans,
Oppenheimer Analysis,
Icehouse,
Kaleidoscope,
Nation of Ulysses,
Peter & Gordon,
Saccharine Trust,
Matthew Bourne,
Monks,
Negative Approach,
Ornette Coleman,
the Human League,
Graham Central Station,
Swans,
Lower 48,
Inner City,
Dawn Penn,
Michelle Simonal,
The Mighty Diamonds,
Jeff Lynne,
Big Daddy Kane,
The Birthday Party,
Byron Stingily,
Thinking Fellers Union Local 282,
Desert Stars,
Lightning Bolt,
London Community Gospel Choir,
Accadde A,
Nils Olav,
The Vogues,
Fat Boys,
The Modern Lovers,
ABC,
Bill Near,
Half Japanese,
Rakim,
Country Joe & The Fish,
Sister Nancy,
The Cosmic Jokers,
Ice-T,
Fluxion,
the Fania All-Stars,
The Fortunes,
AZ,
The Sonics,
Dead Boys,
Ken Boothe,
Bill Wells,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.