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 Maldives and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Bologna and Johannesburg.
I'm losing my edge to the art-school Manchester 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 harpsichord 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 Peter and Kerry to the grime kids.
I played it at the Spitz.
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 Stockholm Monsters. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal disco 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 sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
Sight & Sound,
The Chocolate Watch Band,
Electric Prunes,
Joe Smooth,
The Victims,
Dave Gahan,
Adolescents,
Zero Boys,
Howard Jones,
Roy Ayers Ubiquity,
Loose Ends,
Faust,
Easy Going,
Gang Starr,
8 Eyed Spy,
Teenage Jesus and the Jerks,
Liliput,
Gary Puckett & The Union Gap,
The Smiths,
Isaac Hayes,
Agent Orange,
The Monks,
Neil Young & Crazy Horse,
The Fuzztones,
Mo-Dettes,
Spandau Ballet,
Sunsets and Hearts,
Dead Boys,
DeepChord presents Echospace,
June of 44,
Mad Mike,
Lower 48,
Louis and Bebe Barron,
U.S. Maple,
Jeff Lynne,
MC5,
Andrew Ashong & Theo Parrish,
Rhythim Is Rhythim,
a-ha,
New Age Steppers,
This Heat,
Hoover,
K-Klass,
Grandmaster Flash and the Furious Five,
The West Coast Pop Art Experimental Band,
Strawberry Alarm Clock,
Oppenheimer Analysis,
Altered Images,
Letta Mbulu,
Barrington Levy,
One Last Wish,
Outsiders,
Sandy B,
Beasts of Bourbon,
Schoolly D,
Q and Not U,
Joy Division,
It's A Beautiful Day,
Robert Görl,
Röyhkä ja Rättö ja Lehtisalo,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.