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 Greece and from Glasgow.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1979.
I'm losing my edge.
To all the kids in Salvador and Beijing.
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 1976 at the first Chic practice in a loft in New York.
I was working on the rhodes 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 Minny Pops to the grime kids.
I played it at the Crocodile.
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 Mr. Review. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every The Index 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 '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Cure record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
The Toasters,
Sonny Sharrock,
Lou Reed & Metallica,
Cameo,
Moby Grape,
Soulsonic Force,
Man Parrish,
Joyce Sims,
Ponytail,
Bang On A Can,
Robert Hood,
Aloha Tigers,
Depeche Mode,
a-ha,
Strawberry Alarm Clock,
Tom Boy,
Black Sheep,
The Dave Clark Five,
The Gladiators,
Steve Hackett,
Arcadia,
Neil Young,
Electric Prunes,
Kool Moe Dee,
Slave,
Kenny Larkin,
Lonnie Liston Smith,
Stereo Dub,
Bobby Byrd,
Cheater Slicks,
Tomorrow,
Motorama,
L. Decosne,
The Cramps,
Roger Hodgson,
Bootsy's Rubber Band,
The Dead C,
cv313,
Model 500,
Colin Newman,
Eric Copeland,
The Young Rascals,
The Durutti Column,
Smog,
Jimmy McGriff,
Interpol,
Brass Construction,
Popol Vuh,
Reuben Wilson,
The Beau Brummels,
Symarip,
Super Lover Cee & Casanova Rud,
Soul II Soul,
Chrome,
Pantytec,
Donald Byrd,
Talk Talk,
Idris Muhammad,
Freddie Wadling,
The Neon Judgement,
Funky Four + One,
Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose.
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.