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 Moldova and from Manila.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Hong Kong.
I'm losing my edge to the art-school Johannesburg 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 oboe 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 June of 44 to the jazz 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 Graham Central Station. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every The Searchers 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Oblivians record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
The West Coast Pop Art Experimental Band,
Hoover,
Mary Jane Girls,
Roxette,
The Martian,
Smog,
Yaz,
Bill Wells,
Angels of Light & Akron/Family,
Larry & the Blue Notes,
Warsaw,
Scan 7,
Derrick Morgan,
Lalo Schifrin,
Marc Almond,
Arab on Radar,
London Community Gospel Choir,
The Kinks,
Don Cherry,
Carl Craig,
Con Funk Shun,
The Human League,
Nick Fraelich,
Groovy Waters,
Outsiders,
Radiohead,
Funky Four + One,
Gerry Rafferty,
Inner City,
Wire,
Lungfish,
Wasted Youth,
OOIOO,
Kayak,
Bizarre Inc.,
Traffic Nightmare,
The Toasters,
John Holt,
Sad Lovers and Giants,
Lakeside,
The Stooges,
CMW,
Sly & The Family Stone,
Make Up,
Whodini,
New Age Steppers,
Hasil Adkins,
Urselle,
Aswad,
10cc,
Unwound,
Fela Kuti,
Josef K,
Ohio Players,
Al Stewart,
The Sisters of Mercy,
Porter Ricks,
Brand Nubian,
Darondo,
The Gladiators,
Blossom Toes,
Idris Muhammad,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.