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 Benin and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1969 to 1972.
I'm losing my edge.
To all the kids in Beijing and Manchester.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 Junior Murvin to the dance kids.
I played it at the Spitz.
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 Clear Light. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every Con Funk Shun 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 '70s 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 Soft Machine record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Delta 5,
Maurizio,
Boredoms,
Drive Like Jehu,
Kerrie Biddell,
Rotary Connection,
Roy Ayers Ubiquity,
Wolf Eyes,
Brick,
Neu!,
Joensuu 1685,
Aaron Thompson,
Fifty Foot Hose,
Captain Beefheart & His Magic Band,
Kool Moe Dee,
Electric Light Orchestra,
Selector Dub Narcotic,
It's A Beautiful Day,
Sex Pistols,
Goldenarms,
Delon & Dalcan,
Tres Demented,
The Kinks,
Monolake,
Ludus,
Bobbi Humphrey,
Roger Hodgson,
David Axelrod,
The Monochrome Set,
Liliput,
Barclay James Harvest,
Flash Fearless,
Fort Wilson Riot,
Ronan,
Stereo Dub,
Basic Channel,
Franke,
Von Mondo,
Half Japanese,
Bobby Byrd,
Barrington Levy,
Mo-Dettes,
Soft Machine,
Ten City,
Matthew Bourne,
Man Parrish,
Donny Hathaway,
AZ,
Robert Wyatt,
Marcia Griffiths,
Bill Near,
Pantytec,
Ultimate Spinach,
The Selecter,
10cc,
The Doors,
David McCallum,
Sugar Minott,
The Skatalites,
Can,
Deutsch Amerikanische Freundschaft,
Leonard Cohen,
the Normal, the Normal, the Normal, the Normal.
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.