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 Poland and from Stockholm.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1966 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Houston.
I'm losing my edge to the art-school Tehran 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 1976 at the first Chic practice in a loft in New York.
I was working on the rhodes 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 The Cowsills to the funk 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 Royal Family And The Poor. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Wings record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
James White and The Blacks,
Stereo Dub,
Mandrill,
Model 500,
Lalo Schifrin,
Quadrant,
Joy Division,
cv313,
Sällskapet,
Trumans Water,
KRS-One,
Jimmy McGriff,
Pete Rock & C.L. Smooth,
Royal Trux,
Piero Umiliani,
The Angels of Light,
Mars,
New Age Steppers,
Agitation Free,
The Barracudas,
Rowland S Howard / Lydia Lunch,
The Young Rascals,
Boz Scaggs,
Arcadia,
Tommy Roe,
This Heat,
Aswad,
Nas,
Steve Hackett,
Heavy D & The Boyz,
Teenage Jesus and the Jerks,
The Invisible,
Traffic Nightmare,
Pharoah Sanders,
Neu!,
Fort Wilson Riot,
Juan Atkins,
Nation of Ulysses,
Magma,
The Electric Prunes,
Grandmaster Flash and the Furious Five,
Joyce Sims,
Gil Scott-Heron & Brian Jackson,
Urselle,
The Walker Brothers,
London Community Gospel Choir,
The Dirtbombs,
Crime,
Skriet,
New York Dolls,
the Germs,
Sixth Finger,
Junior Murvin,
The Misunderstood,
Silicon Teens,
The Cowsills,
The Peanut Butter Conspiracy,
Sandy B,
Average White Band,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.