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 Senegal and from Beijing.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Milan and New York.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Flash Fearless to the grime kids.
I played it at the Spitz.
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 Soulsonic Force. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Von Mondo record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Radiohead record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
Spandau Ballet,
Avey Tare's Slasher Flicks,
Steve Hackett,
Wings,
Susan Cadogan,
Idris Muhammad,
Scan 7,
The Busters,
The United States of America,
Thompson Twins,
Joensuu 1685,
Tears for Fears,
Motorama,
The Birthday Party,
Hot Snakes,
The Dead C,
Camouflage,
PIL,
Teenage Jesus and the Jerks,
Gastr Del Sol,
JFA,
Quadrant,
Flipper,
Heaven 17,
Anthony Braxton,
La Düsseldorf,
Faust,
Prince Buster,
Little Man,
H. Thieme,
Marshall Jefferson,
Leonard Cohen,
Masters at Work,
Gang Green,
Lungfish,
Trumans Water,
The Shadows of Knight,
Deutsch Amerikanische Freundschaft,
The Smoke,
John Lydon,
Donny Hathaway,
Heavy D & The Boyz,
Model 500,
The Fall,
Skriet,
Bobbi Humphrey,
LL Cool J,
Don Cherry,
Juan Atkins,
Derrick Morgan,
Rod Modell,
The Monochrome Set,
Fifty Foot Hose,
Swell Maps,
Ornette Coleman,
Oneida,
Lizzy Mercier Descloux,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Jeru the Damaja,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.