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 Somalia and from Portland.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Lille and Tehran.
I'm losing my edge to the art-school Tehran 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 1976 at the first Wire practice in a loft in Watford.
I was working on the marimba 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 Peter and Kerry to the punk kids.
I played it at the Roxy.
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 Index. All the underground hits.
All Donny Hathaway tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Wake record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
Dawn Penn,
Oblivians,
Arthur Verocai,
Alton Ellis,
The Dirtbombs,
Mad Mike,
Q and Not U,
Notorious BIG live in Amsterdam,
Janne Schatter,
Black Sheep,
Marcia Griffiths,
Gil Scott-Heron and Jamie xx,
The Saints,
Gong,
Gang of Four,
Stiv Bators,
Robert Hood,
The Kinks,
The Raincoats,
The Mummies,
The Sisters of Mercy,
Angry Samoans,
The Shadows of Knight,
Tommy Roe,
The Smoke,
The Modern Lovers,
Parry Music,
the Soft Cell,
The Pretty Things,
Flamin' Groovies,
Roxette,
Todd Rundgren,
Unwound,
Oneida,
Gian Franco Pienzio,
Tears for Fears,
Shoche,
Wally Richardson,
Urselle,
Smog,
The Real Kids,
Funkadelic,
Charles Mingus,
Kayak,
Circle Jerks,
Visionaries,LMNO, T- Love & Iriscience,
Moby Grape,
Dr. Dre and Snoop Doggy Dog,
Hasil Adkins,
Stockholm Monsters,
Dave Gahan,
Con Funk Shun,
London Community Gospel Choir,
Metal Thangz,
Lebanon Hanover,
Faust,
Vladislav Delay,
T.S.O.L.,
Crooked Eye,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.