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 Kosovo and from Shanghai.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and New York.
I'm losing my edge to the art-school Lyon 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Dual Sessions to the grunge kids.
I played it at the Crocodile.
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 Pussy Galore. All the underground hits.
All The Tremeloes tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Searchers record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camouflage,
Aswad,
Massinfluence,
The Mighty Diamonds,
Röyhkä ja Rättö ja Lehtisalo,
Traffic Nightmare,
The Associates,
KRS-One,
Gang Green,
In Retrospect,
Organ,
Erasure,
Ronan,
Blancmange,
OOIOO,
Goldenarms,
Roxy Music,
Porter Ricks,
Jeff Mills,
The Index,
Ultra Naté,
Be Bop Deluxe,
Wire,
Nas,
Country Joe & The Fish,
Inner City,
The Fortunes,
Donny Hathaway,
The Young Rascals,
Eric Dolphy,
Cabaret Voltaire,
X-Ray Spex,
New Age Steppers,
Sly & The Family Stone,
Mary Jane Girls,
Peter & Gordon,
Fluxion,
Dave Gahan,
Bobbi Humphrey,
DNA,
Grauzone,
Steve Hackett,
Scrapy,
These Immortal Souls,
Sugar Minott,
The Gladiators,
Mandrill,
Warsaw,
The Fugs,
The Monks,
John Coltrane,
Junior Murvin,
London Community Gospel Choir,
Lebanon Hanover,
The Music Machine,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ken Boothe,
Alphaville,
Trumans Water,
Franke,
The Royal Family And The Poor,
Soulsonic Force,
The Slackers,
the Association,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.