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 China and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 Spokane and Taipei.
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 Human League practice in a loft in Sheffield.
I was working on the sitar 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 London Community Gospel Choir to the rock kids.
I played it at the 40 Watt.
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 Aloha Tigers. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every the Fania All-Stars 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
Ten City,
The Flesh Eaters,
Boredoms,
Joe Smooth,
Yellowson,
Robert Hood,
David Bowie,
Subhumans,
The Beau Brummels,
Rufus Thomas,
Icehouse,
the Slits,
PIL,
Vladislav Delay,
Oneida,
Louis and Bebe Barron,
Aaron Thompson,
Electric Prunes,
Notorious Big And Bone Thugs,
Ultimate Spinach,
Spandau Ballet,
Warren Ellis,
Sex Pistols,
Animal Collective,
The Smiths,
Babytalk,
The Leaves,
Grandmaster Flash,
Chris & Cosey,
John Lydon,
Qualms,
Porter Ricks,
Goldenarms,
The Litter,
Hoover,
Suburban Knight,
The Evens,
Ultramagnetic MC's,
Kool Moe Dee,
The Barracudas,
Marc Romboy vs. Booka Shade,
Bang on a Can All-Stars,
The Techniques,
Hashim,
Motorama,
Hasil Adkins,
The Last Poets,
Lou Christie,
Morten Harket,
D'Angelo,
Zero Boys,
Audionom,
Second Layer,
Scrapy,
Tears for Fears,
The Modern Lovers,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pet Shop Boys,
DJ Sneak,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.