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 Bosnia Herzegovina and from Portland.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1974.
I'm losing my edge.
To all the kids in Lille and Paris.
I'm losing my edge to the art-school Toronto 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 1968 at the first Bowie practice in a loft in Bromley.
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 Music Machine to the grime kids.
I played it at Trash.
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 Dual Sessions. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every the Bar-Kays record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
Grey Daturas,
Young Marble Giants,
The Associates,
Henry Cow,
Model 500,
Marine Girls,
Tres Demented,
Fifty Foot Hose,
Talk Talk,
Traffic Nightmare,
Q and Not U,
Hasil Adkins,
Girls At Our Best!,
Suburban Knight,
Second Layer,
Quadrant,
Cymande,
Dorothy Ashby,
Q65,
Isaac Hayes,
Soft Cell,
Circle Jerks,
Roy Ayers Ubiquity,
Black Moon,
Man Parrish,
Tomorrow,
the Association,
Rahsaan Roland Kirk,
Yaz,
Boogie Down Productions,
Siglo XX,
The Velvet Underground,
These Immortal Souls,
The American Breed,
Josef K,
Mary Jane Girls,
Bob Dylan,
The Golliwogs,
The Fortunes,
Camberwell Now,
Mark Hollis,
Aswad,
Scan 7,
Kenny Larkin,
The Victims,
Boredoms,
kango's stein massive,
The Cure,
Sister Nancy,
Desert Stars,
Rosa Yemen,
the Sonics,
Drive Like Jehu,
World's Most,
Thinking Fellers Union Local 282,
Howard Jones,
Flipper,
Terrestrial Tones,
Colin Newman,
Vladislav Delay,
Bang On A Can,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.