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 Belize and from Stockholm.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Johannesburg and Bremen.
I'm losing my edge to the art-school Lagos 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 Human League practice in a loft in Sheffield.
I was working on the güiro 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 The Offenders to the funk kids.
I played it at the Roxy.
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 U.S. Maple. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Terry Callier record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Unwound record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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 Gordon & Love of Life Orchestra,
Chrome,
Skarface,
Roxy Music,
Masters at Work,
Terry Callier,
Hashim,
Scratch Acid,
Cabaret Voltaire,
Pulsallama,
Theoretical Girls,
Eric B and Rakim,
Harpers Bizarre,
Chris & Cosey,
Faraquet,
Kas Product,
UT,
Amazonics,
Monks,
China Crisis,
Echo & the Bunnymen,
The Vogues,
Pet Shop Boys,
The Monks,
Sonny Sharrock,
Radiohead,
Sun Ra Arkestra,
Scientists,
the Human League,
The Smoke,
Q65,
Minnie Riperton,
R.M.O.,
Black Moon,
DJ Style,
The Remains,
Index,
The Alarm Clocks,
Cecil Taylor,
The Music Machine,
Visage,
Animal Collective,
Ornette Coleman,
The United States of America,
Piero Umiliani,
Kerri Chandler,
Thee Headcoats,
Kevin Saunderson,
Tomorrow,
World's Most,
Donny Hathaway,
OOIOO,
Vladislav Delay,
Brand Nubian,
Grauzone,
Von Mondo,
Barrington Levy,
The Zeros,
the Association,
F. McDonald,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.