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 France and from Woodstock.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1979.
I'm losing my edge.
To all the kids in Seoul and Sao Paulo.
I'm losing my edge to the art-school Glasgow 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 chamberlin 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 Toni Rubio to the electroclash kids.
I played it at CBGB's.
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 Amazonics. All the underground hits.
All The Gories tracks. I heard you have a vinyl of every Scan 7 record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
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 Royal Trux record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
X-101,
Blancmange,
Jacques Brel,
The Divine Comedy,
Avey Tare & Kría Brekkan,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ice-T,
Sugar Minott,
Nation of Ulysses,
Nick Cave & The Bad Seeds,
Man Eating Sloth,
Jesper Dahlbäck,
Banda Bassotti,
The Smiths,
Graham Central Station,
World's Most,
Rhythim Is Rhythim,
Black Flag,
Boogie Down Productions,
Gang of Four,
These Immortal Souls,
The Black Dice,
Swell Maps,
Manfred Mann's Earth Band,
Oppenheimer Analysis,
a-ha,
The Grass Roots,
Radio Birdman,
Scientists,
Sixth Finger,
Half Japanese,
Soulsonic Force,
Lebanon Hanover,
Yaz,
Sound Behaviour,
Grauzone,
Bootsy's Rubber Band,
Ultimate Spinach,
Stetsasonic,
The Fuzztones,
Glambeats Corp.,
Deutsch Amerikanische Freundschaft,
The Blues Magoos,
the Bar-Kays,
Kurtis Blow,
James White and The Blacks,
Suburban Knight,
T.S.O.L.,
Faust,
Brick,
The Doobie Brothers,
Metal Thangz,
Brass Construction,
The Smoke,
Echo & the Bunnymen,
The Selecter,
Joey Negro,
The Motions,
Cymande,
ABC,
The Kinks, The Kinks, The Kinks, The Kinks.
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.