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 Afghanistan and from Tehran.
But I was there.
I was there in 1978.
I was there at the first Visage 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 Spokane and London.
I'm losing my edge to the art-school Hong Kong 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the clarinet 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 Masters at Work to the crunk 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 Second Layer. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Jerry's Kids record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
Radio Birdman,
Talk Talk,
John Lydon,
The Vogues,
Livin' Joy,
Bush Tetras,
Letta Mbulu,
Matthew Halsall,
The Blues Magoos,
Andrew Hill,
Louis and Bebe Barron,
The Mummies,
Swell Maps,
Eric B and Rakim,
Soul Sonic Force,
Eve St. Jones,
Dark Day,
Main Source,
Rotary Connection,
Rhythm & Sound,
Fat Boys,
Surgeon,
Barry Ungar,
The Names,
Scion,
The Moleskins,
Joe Smooth,
Super Lover Cee & Casanova Rud,
Eurythmics,
Eric Copeland,
Oblivians,
Clear Light,
Gong,
Ituana,
The Gories,
Grey Daturas,
Pagans,
8 Eyed Spy,
Electric Prunes,
Minny Pops,
Vladislav Delay,
Theoretical Girls,
The Detroit Cobras,
Connie Case,
The Young Rascals,
Spandau Ballet,
The Toasters,
Icehouse,
Bootsy's Rubber Band,
Echospace,
Crash Course in Science,
Kas Product,
Idris Muhammad,
Sällskapet,
Outsiders,
Inner City,
Moebius,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sad Lovers and Giants,
Reagan Youth,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.