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 El Salvador and from Beijing.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 Delhi and London.
I'm losing my edge to the art-school Bremen 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Average White Band to the grunge 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 David Bowie. All the underground hits.
All ABBA tracks. I heard you have a vinyl of every Freddie Wadling 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 '50s cut and another box set from the '80s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
CMW,
Jeff Lynne,
Al Stewart,
The Associates,
Terrestrial Tones,
Yusef Lateef,
Robert Görl,
Slick Rick,
Robert Hood,
The Last Poets,
Eurythmics,
The Names,
Alice Coltrane,
Scott Walker + Sunn O))),
the Human League,
Lou Reed & John Cale,
Second Layer,
Major Organ And The Adding Machine,
Jesper Dahlbäck,
Half Japanese,
Pharoah Sanders,
Minny Pops,
Grandmaster Flash and the Furious Five,
Jerry Gold Smith,
Sandy B,
Wally Richardson,
Soft Cell,
Sound Behaviour,
Bizarre Inc.,
Frankie Knuckles,
Interpol,
The Count Five,
Bobby Womack,
DeepChord presents Echospace,
Oppenheimer Analysis,
Roy Ayers,
Peter Gordon & Love of Life Orchestra,
Yaz,
June Days,
the Soft Cell,
The Human League,
Danielle Patucci,
Don Cherry,
Andrew Hill,
Bootsy's Rubber Band,
Terror Squad Feat. Camron,
Nick Cave & The Bad Seeds,
Visage,
Man Parrish,
Wire,
Pagans,
Groovy Waters,
Delta 5,
Kaleidoscope,
Smog,
Deepchord,
Magazine,
Zapp,
The Fugs,
the Swans,
Lower 48,
Organ,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.