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 Guatemala and from Tokyo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Calgary.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Franke to the funk kids.
I played it at the Crocodile.
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 Make Up. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Von Mondo record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Technova record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Cameo,
Pylon,
Das Ding,
Kerri Chandler,
Lonnie Liston Smith,
Neu!,
Lalo Schifrin,
Rakim,
Gang Starr,
Leonard Cohen,
Graham Central Station,
Ten City,
Groovy Waters,
X-101,
Marc Almond,
Inner City,
Lafayette Afro Rock Band,
E-Dancer,
Cymande,
John Holt,
Circle Jerks,
Al Stewart,
DeepChord presents Echospace,
The Monks,
the Germs,
Fela Kuti,
Model 500,
Livin' Joy,
Unrelated Segments,
Joey Negro,
The Sonics,
Dual Sessions,
Khruangbin,
Lee Hazlewood,
Frankie Knuckles,
Lebanon Hanover,
Dorothy Ashby,
Amazonics,
Quadrant,
The Flesh Eaters,
John Cale,
New York Dolls,
Bill Near,
Minutemen,
Kango’s Stein Massive,
Boz Scaggs,
Eurythmics,
Roxette,
The Dirtbombs,
Camberwell Now,
Crispy Ambulance,
Wasted Youth,
Scion,
Reuben Wilson,
Slave,
Siglo XX,
Matthew Bourne,
Ronnie Foster,
Steve Hackett,
Au Pairs,
Jacques Brel,
Second Layer,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.