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 Samoa and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Taipei and Lagos.
I'm losing my edge to the art-school New York 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 Peter Gordon & Love of Life Orchestra to the dance kids.
I played it at CBGB's.
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 Bootsy's Rubber Band. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '60s cut and another box set from the '90s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your 808 and bought a sitar.
I hear that you and your band have sold your sitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Country Joe & The Fish,
Terrestrial Tones,
X-102,
Crispy Ambulance,
The Electric Prunes,
Oppenheimer Analysis,
Bill Wells,
Captain Beefheart & His Magic Band,
Sad Lovers and Giants,
Los Fastidios,
Inner City,
Procol Harum,
Half Japanese,
Big Daddy Kane,
Public Enemy,
Urselle,
Underground Resistance,
Basic Channel,
Gil Scott Heron,
Deutsch Amerikanische Freundschaft,
The Doors,
Stockholm Monsters,
Electric Prunes,
R.M.O.,
Robert Wyatt,
Eden Ahbez,
LL Cool J,
The Searchers,
Trumans Water,
The Fugs,
Red Lorry Yellow Lorry,
Sun City Girls,
Visage,
kango's stein massive,
Davy DMX,
Joensuu 1685,
Gabor Szabo,
Lou Reed & John Cale,
Tears for Fears,
Quadrant,
Flash Fearless,
Howard Jones,
Sound Behaviour,
Joyce Sims,
Bobby Byrd,
Scratch Acid,
The Flesh Eaters,
Theoretical Girls,
Lonnie Liston Smith,
Frankie Knuckles,
Fatback Band,
Scion,
Nils Olav,
Stereo Dub,
UT,
Sun Ra Arkestra,
Rhythm & Sound,
Eric Copeland,
Cal Tjader,
cv313,
Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam.
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.