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 Belize and from Milan.
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 1967 to 1978.
I'm losing my edge.
To all the kids in London and Edmonton.
I'm losing my edge to the art-school London 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 Mistral practice in a loft in Amsterdam.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Saccharine Trust to the grime 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 Sun Ra. All the underground hits.
All The Happenings tracks. I heard you have a vinyl of every The Fuzztones 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 '50s cut and another box set from the '80s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Stereo Dub,
Nation of Ulysses,
Avey Tare's Slasher Flicks,
Aural Exciters,
Monolake,
Ohio Players,
The Jesus and Mary Chain,
Little Man,
Roy Ayers,
Roy Ayers Ubiquity,
Prince Buster,
Organ,
Peter and Kerry,
the Human League,
48th St. Collective,
Trumans Water,
Flamin' Groovies,
Kevin Saunderson,
Accadde A,
Idris Muhammad,
Beasts of Bourbon,
Tomorrow,
The Real Kids,
the Slits,
Bill Wells,
The Black Dice,
Das Ding,
Jacob Miller,
The Vogues,
Black Pus,
The Mummies,
Anthony Braxton,
Make Up,
Terror Squad Feat. Camron,
Dual Sessions,
Byron Stingily,
Cabaret Voltaire,
Heavy D & The Boyz,
Ultramagnetic MC's,
Porter Ricks,
Arcadia,
The Victims,
Johnny Clarke,
The Neon Judgement,
Sad Lovers and Giants,
Nick Cave & The Bad Seeds,
Captain Beefheart & His Magic Band,
Marcia Griffiths,
Liliput,
Maurizio,
This Heat,
8 Eyed Spy,
Cameo,
Andrew Hill,
Joey Negro,
Lalann,
Warsaw,
The Associates,
Siglo XX,
Rahsaan Roland Kirk,
Darondo, Darondo, Darondo, Darondo.
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.