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 Ethiopia and from Columbus.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Paris.
I'm losing my edge to the art-school Delhi 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator 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 Robert Hood 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 Black Sheep. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every Ituana record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lou Christie record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
Roxy Music,
U.S. Maple,
Electric Light Orchestra,
Soul II Soul,
Dennis Brown,
Lucky Dragons,
The Gap Band,
Thompson Twins,
Tears for Fears,
The Fire Engines,
Dave Gahan,
Ludus,
Patti Smith,
Danielle Patucci,
Theoretical Girls,
The Smoke,
Nils Olav,
The Kinks,
This Heat,
the Association,
T. Rex,
The Saints,
World's Most,
Mr. Review,
The Black Dice,
Notorious Big And Bone Thugs,
The Birthday Party,
Aaron Thompson,
Johnny Osbourne,
Sällskapet,
Cameo,
Arab on Radar,
A Certain Ratio,
Minnie Riperton,
Oppenheimer Analysis,
Deutsch Amerikanische Freundschaft,
Boz Scaggs,
Sly & The Family Stone,
Althea and Donna,
Little Man,
New Age Steppers,
Faraquet,
The Tremeloes,
Sonny Sharrock,
La Düsseldorf,
Skriet,
These Immortal Souls,
The Knickerbockers,
Letta Mbulu,
Fatback Band,
Saccharine Trust,
Lakeside,
Second Layer,
Ronnie Foster,
Avey Tare & Kría Brekkan,
The Index,
Boredoms,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.