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 Chad and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Calgary.
I'm losing my edge to the art-school New York 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 sitar 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 One Last Wish to the crunk 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 Pierre Henry. All the underground hits.
All Agitation Free tracks. I heard you have a vinyl of every Section 25 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Donald Byrd record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
This Heat,
Model 500,
Brick,
Black Sheep,
Theoretical Girls,
Soulsonic Force,
Guru Guru,
Andrew Ashong & Theo Parrish,
The Standells,
Dave Gahan,
Connie Case,
Deakin,
Aaron Thompson,
The Electric Prunes,
Half Japanese,
Pantytec,
The Flesh Eaters,
Byron Stingily,
Rapeman,
The Durutti Column,
Johnny Clarke,
Cameo,
The Toasters,
Delta 5,
Au Pairs,
Dark Day,
Rekid,
Terrestrial Tones,
Jerry's Kids,
Wighnomy Brothers & Robag Wruhme,
Frankie Knuckles,
Simply Red,
Talk Talk,
Eric B and Rakim,
Bobby Womack,
Cluster,
Lou Reed & Metallica,
Morten Harket,
The American Breed,
Skriet,
Mantronix,
Max Romeo,
The Shadows of Knight,
The Cure,
Joe Smooth,
Pussy Galore,
Negative Approach,
Monolake,
Bad Manners,
LL Cool J,
The Slits,
The Red Krayola,
China Crisis,
Moby Grape,
Nation of Ulysses,
Amazonics,
Lou Reed & John Cale,
Tomorrow,
Con Funk Shun,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.