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 Lesotho and from Manila.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Copenhagen.
I'm losing my edge to the art-school Madrid 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator 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 Excepter to the dance kids.
I played it at the 40 Watt.
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 Traffic Nightmare. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every The Real Kids record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Deutsch Amerikanische Freundschaft,
The Searchers,
F. McDonald,
Spandau Ballet,
The Zeros,
Pharaoh Sanders and the Fire Engines,
Max Romeo,
Brothers Johnson,
cv313,
Dennis Brown,
Scott Walker + Sunn O))),
Marc Almond,
Sonny Sharrock,
Talk Talk,
Camron Feat. Jay Z And Juelz,
Howard Jones,
Neu!,
Nils Olav,
The Gories,
Gang of Four,
Lyres,
Interpol,
Hashim,
Outsiders,
Joy Division,
Oblivians,
Marine Girls,
Soft Machine,
Sex Pistols,
Dead Boys,
The Grass Roots,
Grauzone,
Bizarre Inc.,
Sandy B,
Supertramp,
the Human League,
Chrome,
Oppenheimer Analysis,
Ralphi Rosario,
Suburban Knight,
The Neon Judgement,
The Buckinghams,
Black Bananas,
Hot Snakes,
Pete Rock & C.L. Smooth,
Dual Sessions,
The Cramps,
The New Christs,
Strawberry Alarm Clock,
10cc,
Crooked Eye,
The Royal Family And The Poor,
Piero Umiliani,
The Misunderstood,
Adolescents,
Bootsy Collins,
Juan Atkins,
Tom Boy,
The Barracudas,
Lungfish,
Lower 48,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.