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 Sri Lanka and from Jakarta.
But I was there.
I was there in 1973.
I was there at the first Television 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 1970.
I'm losing my edge.
To all the kids in Woodstock and Shanghai.
I'm losing my edge to the art-school London 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 Deadbeat to the funk kids.
I played it at the Hacienda.
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 Lower 48. All the underground hits.
All The Slackers tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro 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,
Marc Almond,
Sunsets and Hearts,
Marine Girls,
The Happenings,
Oppenheimer Analysis,
Au Pairs,
Jesper Dahlback,
Mary Jane Girls,
Scion,
Ice-T,
Kerri Chandler,
Roger Hodgson,
Sparks,
kango's stein massive,
Derrick May,
Sandy B,
Sexual Harrassment,
Pantytec,
Jeru the Damaja,
Rowland S Howard / Lydia Lunch,
Public Enemy,
Gang Starr,
James Chance & The Contortions,
Interpol,
Moss Icon,
ABBA,
L. Decosne,
Audionom,
JFA,
Zero Boys,
Nick Cave & The Bad Seeds,
Public Image Ltd.,
Donald Byrd,
Bluetip,
Terry Callier,
Grandmaster Flash,
Fatback Band,
Brick,
Visage,
Jerry Gold Smith,
The Names,
Television Personalities,
Monolake,
Sixth Finger,
Livin' Joy,
Siouxsie and the Banshees,
Fort Wilson Riot,
This Heat,
Scott Walker,
Röyhkä ja Rättö ja Lehtisalo,
The Evens,
Girls At Our Best!,
Monks,
Jimmy McGriff,
Eric B and Rakim,
Dawn Penn,
Icehouse,
Matthew Bourne,
De La Soul & Jungle Brothers,
The Move, The Move, The Move, The Move.
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.