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 Tonga and from Stockholm.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Toronto and Mumbai.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the clarinet 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 X-102 to the punk 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 Cheater Slicks. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Terror Squad Feat. Camron,
Juan Atkins,
Organ,
Howard Jones,
Theoretical Girls,
Porter Ricks,
Arab on Radar,
Gabor Szabo,
Gang Green,
The Men They Couldn't Hang,
Das Ding,
The Slackers,
the Slits,
Todd Terry,
Janne Schatter,
Roxy Music,
Sad Lovers and Giants,
Fela Kuti,
Adolescents,
The Barracudas,
Delta 5,
Model 500,
Vladislav Delay,
Urselle,
The Slits,
Arcadia,
The Residents,
This Heat,
Jacques Brel,
Ituana,
Drive Like Jehu,
Boz Scaggs,
Nik Kershaw,
Robert Görl,
Lizzy Mercier Descloux,
Gian Franco Pienzio,
Little Man,
The Doobie Brothers,
Roy Ayers,
Outsiders,
Bad Manners,
Aswad,
Tears for Fears,
Skarface,
Tom Boy,
The Monochrome Set,
Scott Walker,
The Chocolate Watch Band,
The Moleskins,
The Raincoats,
Crash Course in Science,
Byron Stingily,
The United States of America,
Art Ensemble Of Chicago,
Super Lover Cee & Casanova Rud,
The Count Five,
Johnny Clarke,
Delon & Dalcan,
Swell Maps,
Sound Behaviour,
Ralphi Rosario, Ralphi Rosario, Ralphi Rosario, Ralphi Rosario.
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.