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 Slovakia and from Stockholm.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Taipei.
I'm losing my edge to the art-school Spokane 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 spring reverb 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 Joey Negro to the jazz 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 Make Up. All the underground hits.
All Lower 48 tracks. I heard you have a vinyl of every Boz Scaggs record on German import.
I heard that you have a white label of every seminal rock 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 güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sonny Sharrock record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Kauko Röyhkä ja Narttu,
Hoover,
The Divine Comedy,
Mark Hollis,
The Peanut Butter Conspiracy,
Lalann,
Stiv Bators,
Sam Rivers,
Von Mondo,
Stockholm Monsters,
The Selecter,
R.M.O.,
the Soft Cell,
Quando Quango,
Camouflage,
Young Marble Giants,
Masters at Work,
a-ha,
K-Klass,
Black Moon,
Kings Of Tomorrow,
Fear,
Neil Young & Crazy Horse,
Lou Reed & John Cale,
The Doors,
Easy Going,
The American Breed,
Nick Cave & The Bad Seeds,
Gian Franco Pienzio,
Justin Hinds & The Dominoes,
EPMD,
DJ Sneak,
John Cale,
FM Einheit,
Bang On A Can,
Trumans Water,
Marcia Griffiths,
The Smiths,
Lonnie Liston Smith,
Eden Ahbez,
Flash Fearless,
the Slits,
The Misunderstood,
London Community Gospel Choir,
Eric Copeland,
Bill Wells,
Sly & The Family Stone,
Deutsch Amerikanische Freundschaft,
Minny Pops,
Audionom,
Marc Almond,
Scrapy,
Technova,
Ossler,
Amon Düül II,
Lucky Dragons,
Subhumans,
Jeff Mills,
Tropical Tobacco,
Letta Mbulu,
Sexual Harrassment,
Janne Schatter,
Bobby Womack, Bobby Womack, Bobby Womack, Bobby Womack.
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.