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 Rwanda and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1964 to 1975.
I'm losing my edge.
To all the kids in Portland and Columbus.
I'm losing my edge to the art-school Halifax 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 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 Sällskapet to the grime 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 The Walker Brothers. All the underground hits.
All Index tracks. I heard you have a vinyl of every Banda Bassotti 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Crispy Ambulance record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barrington Levy,
Ash Ra Tempel,
Ultravox,
Joe Finger,
New Age Steppers,
Bronski Beat,
R.M.O.,
Parry Music,
Arthur Verocai,
Throbbing Gristle,
Quadrant,
ABBA,
Goldenarms,
James White and The Blacks,
Sparks,
Zapp,
Hot Snakes,
Andrew Hill,
Matthew Halsall,
The Count Five,
The Vogues,
Index,
H. Thieme,
New York Dolls,
Deepchord,
EPMD,
Pharaoh Sanders and the Fire Engines,
Delta 5,
Motorama,
Bob Dylan,
Godley & Creme,
Eli Mardock,
OOIOO,
Glenn Branca,
Hasil Adkins,
Max Romeo,
Easy Going,
The Dead C,
Soft Cell,
London Community Gospel Choir,
Larry & the Blue Notes,
Man Parrish,
Alison Limerick,
Robert Görl,
Danielle Patucci,
Nirvana,
The Cowsills,
Dr. Dre and Snoop Doggy Dog,
Electric Prunes,
The Blues Magoos,
Echo & the Bunnymen,
Sam Rivers,
Isaac Hayes,
Duran Duran,
Japan,
Pole,
Grauzone,
JFA,
David McCallum,
Ajijia Myrayebe,
Eric B and Rakim,
Dennis Brown,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.