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 Georgia and from Stockholm.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Edmonton and Lyon.
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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the chamberlin 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 The Happenings to the punk 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 Black Sheep. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Junior Murvin record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
The Remains,
Young Marble Giants,
Boredoms,
Matthew Bourne,
Roy Ayers Ubiquity,
Cybotron,
James Chance & The Contortions,
Bobby Sherman,
Harry Pussy,
Terrestrial Tones,
Bootsy's Rubber Band,
Dark Day,
Negative Approach,
Mad Mike,
a-ha,
Kaleidoscope,
Gastr Del Sol,
Danielle Patucci,
Jimmy McGriff,
Khruangbin,
Deepchord,
The Peanut Butter Conspiracy,
Dual Sessions,
Soul II Soul,
Half Japanese,
Robert Hood,
Sly & The Family Stone,
Fort Wilson Riot,
Jeff Lynne,
Masters at Work,
Marcia Griffiths,
Gong,
Grandmaster Flash,
Kings Of Tomorrow,
Reagan Youth,
The Modern Lovers,
Thinking Fellers Union Local 282,
The Offenders,
Inner City,
Deadbeat,
Crime,
Hashim,
Barry Ungar,
Cabaret Voltaire,
Ultramagnetic MC's,
Red Lorry Yellow Lorry,
The Dave Clark Five,
Unwound,
Notorious BIG live in Amsterdam,
Gil Scott-Heron and Jamie xx,
The Residents,
Alison Limerick,
The Standells,
Organ,
Sixth Finger,
Lou Christie,
Junior Murvin,
The Red Krayola,
Strawberry Alarm Clock,
Peter and Kerry,
Neil Young & Crazy Horse,
The Beau Brummels,
Gary Puckett & The Union Gap,
Severed Heads, Severed Heads, Severed Heads, Severed Heads.
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.