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 Nicaragua and from Hong Kong.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1979.
I'm losing my edge.
To all the kids in Winnipeg and Stockholm.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the marimba sounds with much patience.
I was there when Nile Rodgers 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 Sugar Minott to the grunge kids.
I played it at the Roxy.
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 Easy Going. All the underground hits.
All Godley & Creme tracks. I heard you have a vinyl of every Fat Boys record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Arcadia record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Mandrill,
Simply Red,
Tropical Tobacco,
Glambeats Corp.,
Gong,
B.T. Express,
Scratch Acid,
the Swans,
Teenage Jesus and the Jerks,
Lyres,
Bill Wells,
Yusef Lateef,
Khruangbin,
CMW,
Parry Music,
The West Coast Pop Art Experimental Band,
Cluster,
The Move,
Johnny Osbourne,
Monks,
The Leaves,
The Cramps,
The Pretty Things,
Rufus Thomas,
The Walker Brothers,
Tres Demented,
The Electric Prunes,
Model 500,
DeepChord presents Echospace,
Rhythm & Sound,
Massinfluence,
Lebanon Hanover,
New York Dolls,
a-ha,
Lonnie Liston Smith,
Average White Band,
The Moleskins,
Young Marble Giants,
The Last Poets,
Art Ensemble Of Chicago,
JFA,
Los Fastidios,
Al Stewart,
Sister Nancy,
Subhumans,
Wire,
The Dave Clark Five,
Adolescents,
Matthew Bourne,
H. Thieme,
Can,
Hasil Adkins,
Soul II Soul,
Eric Dolphy,
Shuggie Otis,
Cecil Taylor,
Fluxion,
The Peanut Butter Conspiracy,
Sun Ra,
Thinking Fellers Union Local 282,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.