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 Philippines and from Madrid.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Manila.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum 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 Nas to the techno kids.
I played it at the Troubador.
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 The Zeros. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Oneida 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 a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Alphaville,
Gerry Rafferty,
Joensuu 1685,
DJ Sneak,
Gichy Dan,
U.S. Maple,
Pere Ubu,
Yazoo,
Janne Schatter,
Dennis Brown,
New Order,
Buzzcocks,
Rosa Yemen,
Mandrill,
Con Funk Shun,
Mary Jane Girls,
Howard Jones,
Ornette Coleman,
Marvin Gaye,
The Busters,
Johnny Clarke,
R.M.O.,
Clear Light,
Hot Snakes,
Fad Gadget,
Monolake,
the Fania All-Stars,
Lizzy Mercier Descloux,
Fatback Band,
Deakin,
The Fugs,
Darondo,
The Slackers,
Godley & Creme,
Lower 48,
Magazine,
CMW,
Girls At Our Best!,
KRS-One,
Cybotron,
Porter Ricks,
Simply Red,
Nik Kershaw,
Pierre Henry,
The Modern Lovers,
The Grass Roots,
Electric Prunes,
The Five Americans,
Public Enemy,
Eli Mardock,
Bobby Byrd,
Prince Buster,
Das Ding,
Josef K,
Quadrant,
Ten City,
Khruangbin,
Quando Quango,
Ken Boothe,
Justin Hinds & The Dominoes,
Tears for Fears,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.