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 Guinea and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Spokane and Jakarta.
I'm losing my edge to the art-school Toronto 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer 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 The Royal Family And The Poor to the electroclash kids.
I played it at Cafe Wha.
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 Sandy B. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every Camberwell Now 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 '70s cut and another box set from the '80s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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 Mighty Diamonds,
John Lydon,
The Doors,
Quantec,
Jerry's Kids,
The Grass Roots,
Rakim,
Notorious BIG live in Amsterdam,
The Fortunes,
Lungfish,
Curtis Mayfield,
Rod Modell,
Harry Pussy,
Johnny Osbourne,
The Alarm Clocks,
Moss Icon,
Soft Cell,
F. McDonald,
Guru Guru,
Bobbi Humphrey,
Piero Umiliani,
The Chocolate Watch Band,
Juan Atkins,
John Holt,
Ralphi Rosario,
This Heat,
Alphaville,
Con Funk Shun,
Tim Buckley,
Schoolly D,
Goldenarms,
E-Dancer,
Mark Hollis,
China Crisis,
Pulsallama,
The Cosmic Jokers,
Ten City,
The Monochrome Set,
World's Most,
The Gladiators,
Hoover,
Avey Tare,
Simply Red,
Drive Like Jehu,
In Retrospect,
Frankie Knuckles,
One Last Wish,
The Count Five,
Jeru the Damaja,
Robert Hood,
Grandmaster Flash,
London Community Gospel Choir,
Pierre Henry,
Fad Gadget,
Barbara Tucker,
Robert Görl,
Todd Rundgren,
These Immortal Souls,
Godley & Creme,
The Electric Prunes,
Negative Approach,
Anakelly,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.