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 Ghana and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Delhi.
I'm losing my edge to the art-school Seoul 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 1971 at the first Selda practice in a loft in Istanbul.
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 Supertramp to the grunge 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 The Alarm Clocks. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every X-101 record on German import.
I heard that you have a white label of every seminal disco 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 an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your 808 and bought a guitar.
I hear that you and your band have sold your guitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Busters,
Alison Limerick,
Crispian St. Peters,
Peter and Kerry,
Mark Hollis,
The Gap Band,
Silicon Teens,
Black Pus,
Rhythm & Sound,
The Music Machine,
CMW,
The Slits,
Stiv Bators,
Skriet,
Lakeside,
Barrington Levy,
The Motions,
Kerrie Biddell,
The Fire Engines,
Yellowson,
Niagra,
D'Angelo,
The Men They Couldn't Hang,
Pagans,
Lindisfarne,
Mission of Burma,
Girls At Our Best!,
Main Source,
Mantronix,
Graham Central Station,
Jesper Dahlback,
Thompson Twins,
Lou Reed & John Cale,
Cecil Taylor,
Eric B and Rakim,
Moss Icon,
James White and The Blacks,
Sixth Finger,
The Modern Lovers,
The Invisible,
Notorious Big And Bone Thugs,
The Doobie Brothers,
Fat Boys,
Pulsallama,
EPMD,
Scratch Acid,
Public Enemy,
Nik Kershaw,
Red Lorry Yellow Lorry,
Camouflage,
The Flesh Eaters,
John Holt,
Negative Approach,
Nick Fraelich,
Derrick May,
Erasure,
The Tremeloes,
Lonnie Liston Smith,
Beasts of Bourbon,
Bizarre Inc.,
The Saints, The Saints, The Saints, The Saints.
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.