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 Iceland and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 Manchester and Madrid.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare 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 Marcia Griffiths to the punk 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 Boz Scaggs. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan 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 '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echospace,
Franke,
Curtis Mayfield,
Camouflage,
Television Personalities,
Duran Duran,
Lindisfarne,
Selector Dub Narcotic,
Johnny Clarke,
Masters at Work,
Terry Callier,
Jerry Gold Smith,
Ludus,
Johnny Osbourne,
Electric Prunes,
Jawbox,
Ultramagnetic MC's,
Arab on Radar,
Marc Romboy vs. Booka Shade,
Skriet,
The Misunderstood,
Qualms,
Yaz,
Fad Gadget,
Terrestrial Tones,
Lee Hazlewood,
Gil Scott-Heron and Jamie xx,
Oneida,
Todd Rundgren,
The Smoke,
Soulsonic Force,
Q and Not U,
Kerrie Biddell,
Eyeless In Gaza,
Donald Byrd,
Neil Young,
The Gladiators,
Sun Ra,
Kings Of Tomorrow,
The Five Americans,
Warren Ellis,
Graham Central Station,
Popol Vuh,
Pantytec,
Cluster,
The Cosmic Jokers,
R.M.O.,
Kaleidoscope,
Average White Band,
Nation of Ulysses,
Marshall Jefferson,
Lower 48,
The Mummies,
Eddi Front,
OOIOO,
World's Most,
Althea and Donna,
Stetsasonic,
The Names,
Model 500,
Deakin,
Main Source, Main Source, Main Source, Main Source.
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.