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 the UAE and from Sao Paulo.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Manchester and Tehran.
I'm losing my edge to the art-school Houston 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 snare sounds with much patience.
I was there when Michael McDonald 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 Roy Ayers to the punk kids.
I played it at the 40 Watt.
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 Alison Limerick. All the underground hits.
All The Fall tracks. I heard you have a vinyl of every Ronnie Foster 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 '80s.
I hear you're buying a guitar and an oboe 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 spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
MDC,
Pagans,
Strawberry Alarm Clock,
Aaron Thompson,
David Bowie,
Art Ensemble Of Chicago,
Underground Resistance,
Oppenheimer Analysis,
Ken Boothe,
Alton Ellis,
Deakin,
The Fuzztones,
Cabaret Voltaire,
A Certain Ratio,
Brand Nubian,
ABBA,
Chris & Cosey,
Patti Smith,
Altered Images,
Prince Buster,
John Holt,
Marmalade,
Excepter,
Scientists,
Bill Near,
Hoover,
Second Layer,
DNA,
Lakeside,
Saccharine Trust,
Gary Puckett & The Union Gap,
Marc Romboy vs. Booka Shade,
Visage,
Dark Day,
The Seeds,
Moby Grape,
Ajijia Myrayebe,
Connie Case,
DJ Style,
Nas,
Arthur Verocai,
The Moody Blues,
Max Romeo,
Main Source,
Peter Gordon & Love of Life Orchestra,
Grandmaster Flash,
Anakelly,
A Flock of Seagulls,
Alphaville,
Avey Tare,
James White and The Blacks,
Tomorrow,
Quando Quango,
Pere Ubu,
Lower 48,
Aural Exciters,
Cymande,
Mission of Burma,
The Divine Comedy,
L. Decosne,
Delon & Dalcan, Delon & Dalcan, Delon & Dalcan, Delon & Dalcan.
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.