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 Ecuador and from Lille.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Mumbai and Bologna.
I'm losing my edge to the art-school Spokane 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 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 Howard Jones to the techno kids.
I played it at the Roxy.
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 Mandrill. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeru the Damaja,
Sad Lovers and Giants,
Ituana,
Hot Snakes,
Davy DMX,
Mad Mike,
Robert Hood,
T.S.O.L.,
Camberwell Now,
Joyce Sims,
The Tremeloes,
Kayak,
Scan 7,
F. McDonald,
Sight & Sound,
Japan,
Shuggie Otis,
John Foxx,
The Smoke,
The Doobie Brothers,
The Dave Clark Five,
Selector Dub Narcotic,
Warren Ellis,
Joey Negro,
Barclay James Harvest,
Teenage Jesus and the Jerks,
X-101,
Letta Mbulu,
Q and Not U,
The Litter,
Tom Boy,
The Invisible,
DNA,
Eve St. Jones,
Tres Demented,
Eric B and Rakim,
Alton Ellis,
The Searchers,
The Fortunes,
The Trojans,
Simply Red,
cv313,
Eddi Front,
Alison Limerick,
Stiv Bators,
Supertramp,
a-ha,
Ken Boothe,
One Last Wish,
Roy Ayers Ubiquity,
Procol Harum,
The Peanut Butter Conspiracy,
Brothers Johnson,
K-Klass,
Parry Music,
Toni Rubio,
Urselle,
Ultramagnetic MC's,
Roxette,
Robert Wyatt,
Nico,
Chrome,
Godley & Creme,
Unwound, Unwound, Unwound, Unwound.
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.