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 Rwanda and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1977.
I'm losing my edge.
To all the kids in Tehran and Lyon.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer 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 Delon & Dalcan 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 Arthur Verocai. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every Sarah Menescal record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes 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?
ABC,
The Index,
Jacques Brel,
Kings Of Tomorrow,
Aaron Thompson,
The Alarm Clocks,
The Mummies,
Basic Channel,
Sister Nancy,
the Association,
Pagans,
Tom Boy,
Harmonia,
Eli Mardock,
Deutsch Amerikanische Freundschaft,
Roger Hodgson,
Jeru the Damaja,
the Sonics,
The Sisters of Mercy,
Bill Wells,
The Peanut Butter Conspiracy,
Magazine,
The Pop Group,
The Tremeloes,
The Star Department,
Stockholm Monsters,
Ten City,
F. McDonald,
kango's stein massive,
The Knickerbockers,
Orchestral Manoeuvres in the Dark,
Camron Feat. Memphis Bleek And Beenie Seigel,
Toni Rubio,
Banda Bassotti,
Scott Walker,
Bobby Womack,
The Wake,
Make Up,
Qualms,
Main Source,
Lou Reed & Metallica,
The Men They Couldn't Hang,
the Soft Cell,
Neil Young,
Mandrill,
Fort Wilson Riot,
Nils Olav,
Wasted Youth,
Roy Ayers Ubiquity,
Justin Hinds & The Dominoes,
Ohio Players,
In Retrospect,
Bobby Sherman,
Joey Negro,
Ash Ra Tempel,
Adolescents,
Hasil Adkins,
Brothers Johnson,
The United States of America,
Interpol,
Kerri Chandler,
JFA,
Simply Red,
Siouxsie and the Banshees,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.