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 Tajikistan and from Halifax.
But I was there.
I was there in 1973.
I was there at the first Television 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 1963 to 1972.
I'm losing my edge.
To all the kids in Houston and Calgary.
I'm losing my edge to the art-school Copenhagen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the linndrum 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 Jesper Dahlbäck to the jazz kids.
I played it at the Hacienda.
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 Dead Boys. All the underground hits.
All The Buckinghams tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science 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?
Morten Harket,
The Monks,
Rotary Connection,
CMW,
Shuggie Otis,
This Heat,
Red Lorry Yellow Lorry,
The Searchers,
Thompson Twins,
Pierre Henry,
Sister Nancy,
Nas,
Amazonics,
Visionaries,LMNO, T- Love & Iriscience,
Joe Smooth,
Lyres,
Joy Division,
Alton Ellis,
Country Joe & The Fish,
The Last Poets,
The Blues Magoos,
The Techniques,
UT,
Howard Jones,
The Victims,
Ituana,
Con Funk Shun,
Lightning Bolt,
Camron Feat. Jay Z And Juelz,
Lalo Schifrin,
Deakin,
Kauko Röyhkä ja Narttu,
Franke,
Hasil Adkins,
Orchestral Manoeuvres in the Dark,
Aloha Tigers,
Justin Hinds & The Dominoes,
Black Moon,
Babytalk,
Cabaret Voltaire,
Major Organ And The Adding Machine,
Rosa Yemen,
Sarah Menescal,
Negative Approach,
Jacques Brel,
Adolescents,
Fifty Foot Hose,
Grey Daturas,
Archie Shepp,
The Dave Clark Five,
Ajijia Myrayebe,
Thee Headcoats,
Gong,
The Associates,
Intrusion,
Funkadelic,
Terrestrial Tones,
New York Dolls,
Aswad, Aswad, Aswad, Aswad.
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.