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 San Marino and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1960 to 1975.
I'm losing my edge.
To all the kids in Madrid and Glasgow.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the güiro 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 Newcleus to the techno 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 Erasure. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Pet Shop Boys record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boz Scaggs,
Agent Orange,
Young Marble Giants,
Fela Kuti,
Teenage Jesus and the Jerks,
Clear Light,
Wings,
Gang Starr,
Sun City Girls,
John Holt,
Red Lorry Yellow Lorry,
Donald Byrd,
London Community Gospel Choir,
Bush Tetras,
Hoover,
The Durutti Column,
Selector Dub Narcotic,
Half Japanese,
Ralphi Rosario,
Alphaville,
Janne Schatter,
Circle Jerks,
Matthew Halsall,
Anakelly,
Lou Christie,
Bang On A Can,
Gerry Rafferty,
Dawn Penn,
Bauhaus,
Avey Tare's Slasher Flicks,
The Wake,
D'Angelo,
Urselle,
The Gun Club,
Von Mondo,
Charles Mingus,
Barrington Levy,
Kas Product,
The Gories,
10cc,
Terror Squad Feat. Camron,
Deakin,
Blossom Toes,
Neil Young,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Neil Young & Crazy Horse,
Soft Cell,
Avey Tare & Kría Brekkan,
Stereo Dub,
Kurtis Blow,
Crash Course in Science,
Derrick May,
The Young Rascals,
Lou Reed & Metallica,
Pantytec,
Erykah Badu,
Sunsets and Hearts,
The Birthday Party,
Nirvana,
Junior Murvin, Junior Murvin, Junior Murvin, Junior Murvin.
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.