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 Andorra and from New York.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1975.
I'm losing my edge.
To all the kids in Paris and Cairo.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the harpsichord 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 Simply Red to the jazz 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 Country Joe & The Fish. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every Jacob Miller 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Young Marble Giants,
The Fall,
The Misunderstood,
Roxy Music,
Delon & Dalcan,
Wighnomy Brothers & Robag Wruhme,
Liliput,
Rekid,
Skaos,
Cal Tjader,
Gil Scott-Heron & Brian Jackson,
Eve St. Jones,
Jacob Miller,
Kool G Rap & DJ Polo,
Ten City,
Maurizio,
A Flock of Seagulls,
It's A Beautiful Day,
Vaughan Mason & Crew,
Don Cherry,
Easy Going,
Josef K,
Sonny Sharrock,
L. Decosne,
Be Bop Deluxe,
Eddi Front,
The Angels of Light,
One Last Wish,
Al Stewart,
Icehouse,
Sister Nancy,
Pantaleimon,
Excepter,
Fela Kuti,
Gil Scott Heron,
Sparks,
Gastr Del Sol,
Sly & The Family Stone,
Simply Red,
ABBA,
Kool Moe Dee,
Lizzy Mercier Descloux,
Ice-T,
Yellowson,
Scion,
Kango’s Stein Massive,
Bobby Sherman,
the Normal,
Rhythm & Sound,
The Men They Couldn't Hang,
Fad Gadget,
Bootsy Collins,
Surgeon,
Stetsasonic,
The West Coast Pop Art Experimental Band,
Gian Franco Pienzio,
Vladislav Delay,
The Cowsills,
Laurel Aitken,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.