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 Nepal and from Tehran.
But I was there.
I was there in .
I was there at the first Suicide 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 1967 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Edmonton.
I'm losing my edge to the art-school Paris 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 linndrum 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 Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic to the dance kids.
I played it at the Crocodile.
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 The Human League. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal electroclash 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 a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Flipper 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?
Kings Of Tomorrow,
Sällskapet,
The Human League,
Bobby Sherman,
The Cramps,
John Lydon,
Jeru the Damaja,
the Fania All-Stars,
John Cale,
The Durutti Column,
Amon Düül,
Agitation Free,
The Barracudas,
the Bar-Kays,
Public Image Ltd.,
Rapeman,
The Jesus and Mary Chain,
Spandau Ballet,
Fort Wilson Riot,
Talk Talk,
Hashim,
The Zeros,
Tropical Tobacco,
Eve St. Jones,
ABC,
The Trojans,
Angels of Light & Akron/Family,
The Monochrome Set,
Camouflage,
Scott Walker,
Trumans Water,
Dual Sessions,
The Men They Couldn't Hang,
Aloha Tigers,
Electric Prunes,
Stockholm Monsters,
Mr. Review,
The Knickerbockers,
Darondo,
cv313,
The Mojo Men,
The Tremeloes,
Jerry's Kids,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Fortunes,
Interpol,
The Saints,
Eric B and Rakim,
The Moleskins,
Magazine,
The Electric Prunes,
Nick Fraelich,
Steve Hackett,
Crispian St. Peters,
Idris Muhammad,
Slave,
Grandmaster Flash and the Furious Five,
A Certain Ratio,
Sparks,
Dark Day,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.