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 Armenia and from Johannesburg.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Cairo.
I'm losing my edge to the art-school Hong Kong 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 güiro sounds with much patience.
I was there when Captain Beefheart 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 The Remains to the funk kids.
I played it at the Hacienda.
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 Monks. All the underground hits.
All The Buckinghams tracks. I heard you have a vinyl of every Cymande record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Divine Comedy record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
The Smoke,
Gang Starr,
The Fortunes,
Bizarre Inc.,
The Residents,
Banda Bassotti,
Ronan,
Black Flag,
Chrome,
The Gladiators,
Intrusion,
Basic Channel,
Hashim,
Kool Moe Dee,
The Electric Prunes,
Joe Finger,
Crime,
Suicide,
D'Angelo,
Delon & Dalcan,
Letta Mbulu,
Godley & Creme,
Average White Band,
Cabaret Voltaire,
Dawn Penn,
James Chance & The Contortions,
Spandau Ballet,
Marcia Griffiths,
Accadde A,
Bob Dylan,
Kayak,
Agent Orange,
The Detroit Cobras,
Roxette,
Avey Tare,
Inner City,
Nico,
a-ha,
The Monochrome Set,
Can,
Piero Umiliani,
Kaleidoscope,
Beasts of Bourbon,
Joey Negro,
Sun Ra,
Sällskapet,
Carl Craig,
Steve Hackett,
Pharaoh Sanders and the Fire Engines,
Warren Ellis,
The Doors,
Blossom Toes,
Gil Scott-Heron and Jamie xx,
The Offenders,
Josef K,
CMW,
Camron Feat. Memphis Bleek And Beenie Seigel,
Tubeway Army,
Brick,
Bobby Byrd,
Deakin,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.