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 Samoa and from Houston.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in London and Tehran.
I'm losing my edge to the art-school Toronto 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 Alison Limerick to the grime kids.
I played it at Cafe Wha.
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 Pussy Galore. All the underground hits.
All Reuben Wilson tracks. I heard you have a vinyl of every Lindisfarne record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Mr. Review,
Peter Gordon & Love of Life Orchestra,
Graham Central Station,
The Shadows of Knight,
Fela Kuti,
The J.B.'s,
Howard Jones,
Buzzcocks,
Crime,
L. Decosne,
Rhythim Is Rhythim,
Roy Ayers,
Nick Fraelich,
The Men They Couldn't Hang,
Slave,
Stockholm Monsters,
Jacob Miller,
Trumans Water,
Pete Rock & C.L. Smooth,
The Modern Lovers,
Kaleidoscope,
Lyres,
Y Pants,
Brand Nubian,
Pierre Henry,
June Days,
The Pop Group,
Unwound,
Traffic Nightmare,
The Vogues,
Siglo XX,
The Sonics,
Avey Tare's Slasher Flicks,
It's A Beautiful Day,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
UT,
Talk Talk,
Nation of Ulysses,
Technova,
Pantytec,
Ultramagnetic MC's,
Neu!,
The Index,
The Music Machine,
Alice Coltrane,
Inner City,
Robert Hood,
F. McDonald,
Average White Band,
Lebanon Hanover,
Rekid,
The Skatalites,
Radiohead,
Marvin Gaye,
Sly & The Family Stone,
Agitation Free,
Soulsonic Force,
Mark Hollis,
Eyeless In Gaza,
Neil Young & Crazy Horse,
Blake Baxter,
Heaven 17, Heaven 17, Heaven 17, Heaven 17.
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.