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 Denmark and from Mumbai.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Toronto and Mumbai.
I'm losing my edge to the art-school Edmonton 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin 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 Flamin' Groovies to the electroclash kids.
I played it at the Troubador.
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 Howard Jones. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Dr. Dre and Snoop Doggy Dog 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 '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
JFA,
Funky Four + One,
The Kinks,
Eddi Front,
Thinking Fellers Union Local 282,
a-ha,
The Doors,
Kurtis Blow,
X-101,
Tommy Roe,
Cabaret Voltaire,
Joyce Sims,
The Shadows of Knight,
Ash Ra Tempel,
Drexciya,
The Raincoats,
Graham Central Station,
Ituana,
London Community Gospel Choir,
Soft Machine,
Crooked Eye,
LL Cool J,
Connie Case,
Dorothy Ashby,
Sly & The Family Stone,
Jeru the Damaja,
The Dirtbombs,
In Retrospect,
Todd Rundgren,
Junior Murvin,
Icehouse,
AZ,
Bobby Byrd,
John Foxx,
Alton Ellis,
The Pretty Things,
Angry Samoans,
Letta Mbulu,
Davy DMX,
Anakelly,
The Flesh Eaters,
Talk Talk,
Ken Boothe,
Lungfish,
Kerrie Biddell,
Fluxion,
Parry Music,
Reagan Youth,
Von Mondo,
The Buckinghams,
Pantytec,
Half Japanese,
Kayak,
Surgeon,
E-Dancer,
Mr. Review,
Slave,
The Smoke,
Peter & Gordon,
Ultramagnetic MC's,
The Men They Couldn't Hang,
Marvin Gaye, Marvin Gaye, Marvin Gaye, Marvin Gaye.
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.