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 Barbados and from Madrid.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Edmonton and Bologna.
I'm losing my edge to the art-school Manchester 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Loose Ends to the dance kids.
I played it at CBGB's.
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 Amon Düül. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every Delon & Dalcan 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Leaves record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
Barclay James Harvest,
The Fortunes,
Pussy Galore,
Q65,
Donald Byrd,
Ralphi Rosario,
The Music Machine,
John Holt,
The Red Krayola,
Chrome,
The Stooges,
Negative Approach,
Icehouse,
The Cowsills,
Camron Feat. Memphis Bleek And Beenie Seigel,
Nation of Ulysses,
Public Enemy,
Motorama,
Sound Behaviour,
Arthur Verocai,
Pharoah Sanders,
Jerry Gold Smith,
Tomorrow,
The Slackers,
La Düsseldorf,
David Axelrod,
Camberwell Now,
E-Dancer,
Grey Daturas,
The Offenders,
The Dave Clark Five,
The Searchers,
The Smoke,
Jesper Dahlback,
Bronski Beat,
Pulsallama,
Wolf Eyes,
Spoonie Gee,
Sandy B,
The Victims,
Alice Coltrane,
The Leaves,
Echo & the Bunnymen,
Swell Maps,
Terror Squad Feat. Camron,
Sonic Youth,
Mission of Burma,
B.T. Express,
Heavy D & The Boyz,
John Coltrane,
The Trojans,
Brothers Johnson,
the Soft Cell,
Stockholm Monsters,
Joey Negro,
Robert Wyatt,
Godley & Creme,
Reagan Youth,
Japan, Japan, Japan, Japan.
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.