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 Armenia and from Accra.
But I was there.
I was there in 1973.
I was there at the first Television 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 1966 to 1979.
I'm losing my edge.
To all the kids in Spokane and Jakarta.
I'm losing my edge to the art-school Winnipeg 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 güiro 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 Sight & Sound to the punk kids.
I played it at the Astoria.
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 Flash Fearless. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Roxette record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Monks,
Procol Harum,
Janne Schatter,
The Neon Judgement,
Au Pairs,
Wasted Youth,
Nick Cave & The Bad Seeds,
Notorious Big And Bone Thugs,
DJ Style,
Erasure,
Morten Harket,
New Order,
Larry & the Blue Notes,
Aaron Thompson,
Bobby Womack,
Sly & The Family Stone,
The Stooges,
Amon Düül,
Stiv Bators,
Alphaville,
La Düsseldorf,
U.S. Maple,
Ralphi Rosario,
The Peanut Butter Conspiracy,
Kenny Larkin,
The J.B.'s,
Technova,
Scrapy,
cv313,
Brothers Johnson,
Althea and Donna,
Deakin,
Terror Squad Feat. Camron,
Arthur Verocai,
Ohio Players,
China Crisis,
Faraquet,
Suicide,
Scratch Acid,
Mars,
Peter & Gordon,
Red Lorry Yellow Lorry,
E-Dancer,
Kayak,
The Count Five,
Bauhaus,
Organ,
Big Daddy Kane,
Toni Rubio,
KRS-One,
Ossler,
The Smoke,
Motorama,
Lucky Dragons,
Quando Quango,
EPMD,
8 Eyed Spy,
Angry Samoans,
Röyhkä ja Rättö ja Lehtisalo,
Pierre Henry,
Kool G Rap & DJ Polo,
Parry Music,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.