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 Sierra Leone and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1970.
I'm losing my edge.
To all the kids in Manchester and Manchester.
I'm losing my edge to the art-school Columbus 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 organ 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 Roy Ayers Ubiquity to the disco kids.
I played it at the Troubador.
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 CMW. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every LL Cool J 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 '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Doobie Brothers record.
I hear that you and your band have sold your clarinet and bought a 808.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yusef Lateef,
Electric Light Orchestra,
Bluetip,
Bobby Hutcherson,
Masters at Work,
Lebanon Hanover,
Nas,
Sex Pistols,
Schoolly D,
Rotary Connection,
The Blackbyrds,
Lalo Schifrin,
The Residents,
Minny Pops,
Fad Gadget,
Theoretical Girls,
Lungfish,
Tommy Roe,
The Mighty Diamonds,
Gil Scott Heron,
Barclay James Harvest,
The Flesh Eaters,
Liliput,
Stereo Dub,
Magazine,
Swell Maps,
The Cramps,
the Soft Cell,
Delon & Dalcan,
Ice-T,
Max Romeo,
The Black Dice,
Gary Puckett & The Union Gap,
Jerry's Kids,
Das Ding,
The Sound,
Pylon,
Charles Mingus,
Model 500,
Grey Daturas,
Gang Gang Dance,
Eve St. Jones,
Soul II Soul,
Lightning Bolt,
The Tremeloes,
Skriet,
The Slits,
Cecil Taylor,
Rites of Spring,
the Fania All-Stars,
Arcadia,
Gong,
Matthew Bourne,
Letta Mbulu,
Zapp,
the Germs,
the Swans,
Jacques Brel,
The Zeros,
Rhythm & Sound,
Johnny Osbourne,
Supertramp,
The Vogues,
Marine Girls,
The Remains, The Remains, The Remains, The Remains.
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.