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 United Kingdom and from Stockholm.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Lyon and Jakarta.
I'm losing my edge to the art-school Mumbai 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen 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 Robert Wyatt to the punk kids.
I played it at the Roxy.
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 Ituana. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Roxette record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Walker Brothers,
Slave,
Johnny Osbourne,
The Grass Roots,
Kings Of Tomorrow,
Man Eating Sloth,
Faust,
U.S. Maple,
Don Cherry,
The Move,
A Certain Ratio,
Ronan,
Matthew Bourne,
Sight & Sound,
Girls At Our Best!,
The J.B.'s,
The Electric Prunes,
Thinking Fellers Union Local 282,
The Fire Engines,
EPMD,
The Peanut Butter Conspiracy,
Depeche Mode,
Avey Tare & Kría Brekkan,
Joey Negro,
Quando Quango,
Chris Corsano,
Andrew Hill,
Fatback Band,
Y Pants,
Massinfluence,
Model 500,
Deadbeat,
Ten City,
Television,
Desert Stars,
Lizzy Mercier Descloux,
Moss Icon,
Dave Gahan,
Erasure,
Magma,
Jerry's Kids,
Das Ding,
Camouflage,
Ken Boothe,
The Black Dice,
Kaleidoscope,
Big Daddy Kane,
The Sonics,
Little Man,
LL Cool J,
Bob Dylan,
Laurel Aitken,
Tears for Fears,
Cameo,
The Smiths,
ABBA,
Manfred Mann's Earth Band,
Graham Central Station,
Fluxion,
Eli Mardock,
Bootsy's Rubber Band,
Prince Buster,
Blancmange,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.