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 Guyana and from Manchester.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Lagos.
I'm losing my edge to the art-school Bologna 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 snare 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 Be Bop Deluxe to the disco 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 Harmonia. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Wings 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 '90s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Dorothy Ashby,
The Durutti Column,
Rahsaan Roland Kirk,
Lee Hazlewood,
Warsaw,
Popol Vuh,
Johnny Osbourne,
These Immortal Souls,
Wire,
The Fortunes,
Dual Sessions,
Peter & Gordon,
Masters at Work,
Chrome,
Kerri Chandler,
Eric B and Rakim,
Marshall Jefferson,
Barclay James Harvest,
E-Dancer,
Wighnomy Brothers & Robag Wruhme,
The Zeros,
Eurythmics,
Eric Copeland,
Ludus,
Bobby Hutcherson,
Peter Gordon & Love of Life Orchestra,
Dennis Brown,
Richard Hell and the Voidoids,
Jacques Brel,
Rakim,
Gian Franco Pienzio,
the Human League,
In Retrospect,
Rod Modell,
Mad Mike,
Throbbing Gristle,
Bobby Byrd,
Quantec,
Donald Byrd,
The Mojo Men,
Mr. Review,
DeepChord presents Echospace,
David Axelrod,
48th St. Collective,
Young Marble Giants,
Major Organ And The Adding Machine,
Chris Corsano,
X-Ray Spex,
Sällskapet,
Bill Wells,
Ossler,
Ponytail,
U.S. Maple,
Banda Bassotti,
Mandrill,
Josef K,
Rowland S Howard / Lydia Lunch,
Interpol,
Joe Smooth,
The Barracudas,
Monks,
The Men They Couldn't Hang,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.