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 Vietnam and from Woodstock.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1975.
I'm losing my edge.
To all the kids in Beijing and Manila.
I'm losing my edge to the art-school Cairo 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 Slave to the grime kids.
I played it at the Roxy.
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 Severed Heads. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiopuhelimet,
Ultramagnetic MC's,
Ornette Coleman,
Vainqueur,
Ponytail,
Gil Scott-Heron & Brian Jackson,
Circle Jerks,
Tomorrow,
Sällskapet,
The Blues Magoos,
Jimmy McGriff,
Ludus,
Siglo XX,
Matthew Halsall,
Bang on a Can All-Stars,
The Durutti Column,
Marine Girls,
Dark Day,
the Human League,
Organ,
Rekid,
Skriet,
The Leaves,
R.M.O.,
John Lydon,
Teenage Jesus and the Jerks,
Guru Guru,
Louis and Bebe Barron,
The Martian,
Wire,
UT,
Soft Cell,
Japan,
The Sound,
Big Daddy Kane,
D'Angelo,
Ituana,
Kango’s Stein Massive,
Avey Tare's Slasher Flicks,
Skaos,
Tears for Fears,
T.S.O.L.,
Josef K,
The Selecter,
Alison Limerick,
Kings Of Tomorrow,
Darondo,
Manfred Mann's Earth Band,
Yusef Lateef,
Shoche,
Gabor Szabo,
Gastr Del Sol,
Cabaret Voltaire,
48th St. Collective,
Shuggie Otis,
Mark Hollis,
The Fuzztones,
Kauko Röyhkä ja Narttu,
FM Einheit,
Erykah Badu,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.