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 Mozambique and from Beijing.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1975.
I'm losing my edge.
To all the kids in Paris and Bremen.
I'm losing my edge to the art-school Sao Paulo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the linndrum 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 Gang of Four to the grunge 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 Quantec. All the underground hits.
All Peter & Gordon tracks. I heard you have a vinyl of every KRS-One record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
The Walker Brothers,
the Fania All-Stars,
Audionom,
Rahsaan Roland Kirk,
Model 500,
Black Pus,
Lonnie Liston Smith,
Au Pairs,
Angry Samoans,
Thompson Twins,
Sun City Girls,
Gang of Four,
Cecil Taylor,
The Count Five,
Orchestral Manoeuvres in the Dark,
The Chocolate Watch Band,
Steve Hackett,
Pete Rock & C.L. Smooth,
Charles Mingus,
The Buckinghams,
Public Enemy,
Mad Mike,
The American Breed,
The Sisters of Mercy,
Jacques Brel,
Man Parrish,
Arcadia,
Reagan Youth,
Red Lorry Yellow Lorry,
Second Layer,
Black Flag,
Pet Shop Boys,
JFA,
Agitation Free,
Vladislav Delay,
Adolescents,
Sparks,
MDC,
Smog,
The Monks,
Fad Gadget,
Piero Umiliani,
Alison Limerick,
Sonic Youth,
Bluetip,
Sam Rivers,
Hot Snakes,
Kurtis Blow,
Davy DMX,
Donald Byrd,
Television Personalities,
Camron Feat. Memphis Bleek And Beenie Seigel,
Rites of Spring,
Scion,
The Last Poets,
Fela Kuti,
Joyce Sims,
Make Up,
Inner City,
cv313,
Hardrive,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.