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 Bahamas and from London.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Portland.
I'm losing my edge to the art-school Tokyo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Mad Mike to the grime kids.
I played it at Cafe Wha.
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 Oppenheimer Analysis. All the underground hits.
All Camron Feat. Memphis Bleek And Beenie Seigel tracks. I heard you have a vinyl of every Black Sheep 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 '80s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
H. Thieme,
Ronan,
Scratch Acid,
Bluetip,
The Last Poets,
The Index,
June of 44,
Clear Light,
The Happenings,
Albert Ayler,
Orchestral Manoeuvres in the Dark,
Kas Product,
Maleditus Sound,
La Düsseldorf,
Brand Nubian,
Negative Approach,
Second Layer,
Cabaret Voltaire,
Jeff Lynne,
Kayak,
Lindisfarne,
cv313,
Gian Franco Pienzio,
Tears for Fears,
Severed Heads,
Sonny Sharrock,
Roy Ayers,
T.S.O.L.,
Funky Four + One,
The Toasters,
Marc Almond,
June Days,
New Order,
Lalann,
Public Image Ltd.,
Maurizio,
Fear,
Carl Craig,
Barry Ungar,
Janne Schatter,
Max Romeo,
Stereo Dub,
Don Cherry,
Reuben Wilson,
Lafayette Afro Rock Band,
The Busters,
Gerry Rafferty,
T. Rex,
Goldenarms,
Boz Scaggs,
Avey Tare & Kría Brekkan,
The Associates,
Sandy B,
Leonard Cohen,
Archie Shepp,
Sticky Fingaz feat. Raekwon,
Radiopuhelimet,
Simply Red,
Yusef Lateef,
Tubeway Army,
Das Ding, Das Ding, Das Ding, Das Ding.
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.