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 Sri Lanka and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1965 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Stockholm.
I'm losing my edge to the art-school Calgary 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the organ 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 Robert Görl to the rock 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 Camron Feat. Jay Z And Juelz. All the underground hits.
All Bobby Womack tracks. I heard you have a vinyl of every Bob Dylan record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vainqueur,
Hashim,
Sad Lovers and Giants,
Quantec,
Buzzcocks,
Sugar Minott,
Gil Scott-Heron & Brian Jackson,
Bootsy Collins,
Symarip,
Howard Jones,
The Wake,
KRS-One,
Grey Daturas,
The Moleskins,
Junior Murvin,
Amon Düül II,
Kango’s Stein Massive,
B.T. Express,
Bobby Womack,
The Blackbyrds,
The Durutti Column,
Pole,
Maleditus Sound,
Max Romeo,
Nation of Ulysses,
Jesper Dahlbäck,
E-Dancer,
A Certain Ratio,
R.M.O.,
Banda Bassotti,
Kenny Larkin,
Eric B and Rakim,
Morten Harket,
Marshall Jefferson,
Los Fastidios,
Dennis Brown,
Ten City,
Todd Rundgren,
Pulsallama,
Rhythm & Sound,
June Days,
The Martian,
Black Bananas,
The Golliwogs,
The Divine Comedy,
The Litter,
EPMD,
The Associates,
Heaven 17,
London Community Gospel Choir,
Kool Moe Dee,
Letta Mbulu,
Lalo Schifrin,
Fatback Band,
The Smiths,
Jacob Miller,
Nik Kershaw,
Average White Band,
Charles Mingus,
Second Layer,
The Tremeloes,
Radio Birdman,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.