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 Japan and from Portland.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1978.
I'm losing my edge.
To all the kids in New York and Mumbai.
I'm losing my edge to the art-school Columbus 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 marimba sounds with much patience.
I was there when Robert Palmer 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 Radio Birdman to the grunge kids.
I played it at the Astoria.
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 Marcia Griffiths. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Byron Stingily 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 '90s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Wake,
Howard Jones,
Sound Behaviour,
Theoretical Girls,
Dark Day,
Bobby Hutcherson,
FM Einheit,
The Skatalites,
Camron Feat. Memphis Bleek And Beenie Seigel,
DNA,
Röyhkä ja Rättö ja Lehtisalo,
World's Most,
The Martian,
This Heat,
Liaisons Dangereuses,
Gang Gang Dance,
Black Flag,
Pharaoh Sanders and the Fire Engines,
These Immortal Souls,
The Divine Comedy,
Agent Orange,
Sixth Finger,
Louis and Bebe Barron,
The Selecter,
Beasts of Bourbon,
Charles Mingus,
Section 25,
Radio Birdman,
OOIOO,
Niagra,
Wally Richardson,
China Crisis,
Scratch Acid,
Depeche Mode,
The Black Dice,
Echo & the Bunnymen,
Wolf Eyes,
Gang Starr,
Althea and Donna,
Robert Görl,
Crooked Eye,
Average White Band,
Siouxsie and the Banshees,
Brass Construction,
Sugar Minott,
The Monks,
Popol Vuh,
The Moleskins,
Buzzcocks,
KRS-One,
Visage,
Magma,
Television Personalities,
Skriet,
The Grass Roots,
The Cure,
Essential Logic,
Colin Newman,
Pantaleimon,
Q65,
Gastr Del Sol,
Rufus Thomas,
Youth Brigade, Youth Brigade, Youth Brigade, Youth Brigade.
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.