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 Mexico and from Hong Kong.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Manchester and Stockholm.
I'm losing my edge to the art-school Toronto 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 1983 at the first Art of Noise practice in a loft in London.
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 Alison Limerick to the funk kids.
I played it at the Astoria.
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 Dark Day. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Deepchord record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a the Fania All-Stars record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Masters at Work,
Kayak,
Tom Boy,
Stereo Dub,
The Names,
New Age Steppers,
Pylon,
DNA,
Notorious Big And Bone Thugs,
Pussy Galore,
Slick Rick,
Toni Rubio,
Japan,
Anakelly,
E-Dancer,
Malaria!,
Los Fastidios,
Michelle Simonal,
Funky Four + One,
Fatback Band,
Scan 7,
Accadde A,
Deepchord,
Al Stewart,
Ornette Coleman,
Black Pus,
Siouxsie and the Banshees,
The Busters,
Glenn Branca,
Dead Boys,
The Royal Family And The Poor,
Tomorrow,
Magma,
Gong,
John Cale,
U.S. Maple,
Pagans,
Jawbox,
The Modern Lovers,
Oneida,
Fluxion,
Brand Nubian,
Con Funk Shun,
Altered Images,
This Heat,
a-ha,
Kas Product,
Boogie Down Productions,
Lalo Schifrin,
Bobby Womack,
Roger Hodgson,
Lizzy Mercier Descloux,
Bobby Byrd,
Eden Ahbez,
Todd Rundgren,
Drive Like Jehu,
Metal Thangz,
The Saints,
The Monochrome Set,
Hashim,
Neil Young,
Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse.
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.