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 Madagascar and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1972.
I'm losing my edge.
To all the kids in Manila and Manchester.
I'm losing my edge to the art-school New York 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 mellotron 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 The Skatalites to the funk 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 Wasted Youth. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Sad Lovers and Giants record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan 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?
The Litter,
Leonard Cohen,
Cabaret Voltaire,
Sly & The Family Stone,
The Last Poets,
Banda Bassotti,
Derrick Morgan,
Yusef Lateef,
Electric Light Orchestra,
Dual Sessions,
Lower 48,
Tomorrow,
Gerry Rafferty,
The Misunderstood,
Stetsasonic,
This Heat,
Roxette,
Grey Daturas,
The Remains,
John Holt,
Connie Case,
Albert Ayler,
Loose Ends,
Drive Like Jehu,
L. Decosne,
Absolute Body Control,
Jacques Brel,
Selector Dub Narcotic,
Gary Puckett & The Union Gap,
Cybotron,
The Jesus and Mary Chain,
The Leaves,
Matthew Bourne,
Fifty Foot Hose,
Bang on a Can All-Stars,
Kool Moe Dee,
Rhythim Is Rhythim,
CMW,
Nils Olav,
Robert Hood,
Colin Newman,
Jerry Gold Smith,
Junior Murvin,
The Golliwogs,
Skaos,
Mad Mike,
Red Lorry Yellow Lorry,
E-Dancer,
Public Image Ltd.,
the Fania All-Stars,
Inner City,
Donald Byrd,
Television,
Sad Lovers and Giants,
Avey Tare & Kría Brekkan,
Ultra Naté,
The Move,
Radiohead,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Art Ensemble Of Chicago,
Nick Cave & The Bad Seeds,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.