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 Montenegro and from Milan.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Copenhagen.
I'm losing my edge to the art-school Beijing 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 Moss Icon to the grime kids.
I played it at the Hacienda.
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 Mark Hollis. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Rhythim Is Rhythim 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 '70s cut and another box set from the '90s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Kinks record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
Unwound,
Make Up,
Colin Newman,
Lafayette Afro Rock Band,
Neil Young,
The Modern Lovers,
Big Daddy Kane,
Lightning Bolt,
Angels of Light & Akron/Family,
Groovy Waters,
Pylon,
ABBA,
Sun Ra Arkestra,
Eve St. Jones,
Marmalade,
Lower 48,
X-102,
U.S. Maple,
Khruangbin,
Babytalk,
Ponytail,
Monks,
D'Angelo,
Al Stewart,
Alison Limerick,
Blake Baxter,
The Music Machine,
Pharaoh Sanders and the Fire Engines,
Max Romeo,
London Community Gospel Choir,
Fifty Foot Hose,
Supertramp,
E-Dancer,
Jeru the Damaja,
The Techniques,
Eyeless In Gaza,
Selector Dub Narcotic,
Pete Rock & C.L. Smooth,
Symarip,
Mantronix,
Gang Starr,
Ultra Naté,
Camron Feat. Jay Z And Juelz,
K-Klass,
Lalann,
Roger Hodgson,
Röyhkä ja Rättö ja Lehtisalo,
Altered Images,
Nils Olav,
Flamin' Groovies,
The Blues Magoos,
The Invisible,
Icehouse,
F. McDonald,
Stereo Dub,
Donald Byrd,
Eric Dolphy,
Roy Ayers,
Joy Division,
The Peanut Butter Conspiracy,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.