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 Norway and from Glasgow.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Lagos and Tehran.
I'm losing my edge to the art-school Paris 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Girls At Our Best! to the crunk 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 This Heat. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your güiro and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Bush Tetras,
The Royal Family And The Poor,
Bobby Sherman,
Soft Cell,
Ornette Coleman,
Radiopuhelimet,
Ralphi Rosario,
Byron Stingily,
X-101,
Young Marble Giants,
David Axelrod,
The Doors,
Jimmy McGriff,
Patti Smith,
Ultravox,
Television Personalities,
Chris Corsano,
Dual Sessions,
Warsaw,
Whodini,
Darondo,
Bronski Beat,
Howard Jones,
Joey Negro,
Second Layer,
Pet Shop Boys,
Talk Talk,
Alton Ellis,
Orchestral Manoeuvres in the Dark,
Interpol,
La Düsseldorf,
Kings Of Tomorrow,
Captain Beefheart & His Magic Band,
10cc,
Lou Reed & Metallica,
Charles Mingus,
Thinking Fellers Union Local 282,
Jesper Dahlbäck,
Bob Dylan,
The Sisters of Mercy,
Electric Light Orchestra,
Angry Samoans,
Public Image Ltd.,
the Fania All-Stars,
Infiniti,
Fat Boys,
The Slackers,
Altered Images,
The Invisible,
The Birthday Party,
Sun City Girls,
Graham Central Station,
Arthur Verocai,
Joensuu 1685,
Ash Ra Tempel,
Tears for Fears,
Thompson Twins,
Heavy D & The Boyz,
De La Soul & Jungle Brothers,
Marshall Jefferson,
Johnny Clarke,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.