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 San Marino and from Bologna.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1975.
I'm losing my edge.
To all the kids in Manchester and Hong Kong.
I'm losing my edge to the art-school Shanghai 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 1984 at the first Arcadia practice in a loft in London.
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 Soul II Soul to the funk kids.
I played it at the 40 Watt.
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 Fort Wilson Riot. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Radiopuhelimet record on German import.
I heard that you have a white label of every seminal funk 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 a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
Second Layer,
Youth Brigade,
Brass Construction,
The Five Americans,
The Martian,
Leonard Cohen,
Tom Boy,
Panda Bear,
Minutemen,
Skriet,
Bootsy's Rubber Band,
Johnny Clarke,
Black Flag,
Desert Stars,
Lou Christie,
The Cramps,
Scion,
James White and The Blacks,
F. McDonald,
Icehouse,
Rufus Thomas,
The Monks,
Eddi Front,
Slick Rick,
Gabor Szabo,
Moebius,
Kenny Larkin,
X-102,
Girls At Our Best!,
Gang Starr,
The Human League,
Robert Görl,
Grauzone,
Anthony Braxton,
The Chocolate Watch Band,
Bobbi Humphrey,
Interpol,
The Dave Clark Five,
Traffic Nightmare,
Eurythmics,
Bluetip,
Shoche,
the Sonics,
The Music Machine,
The Moleskins,
Manfred Mann's Earth Band,
Peter and Kerry,
Lafayette Afro Rock Band,
Crooked Eye,
Kango’s Stein Massive,
New Order,
Negative Approach,
The Fuzztones,
Johnny Osbourne,
The West Coast Pop Art Experimental Band,
Mark Hollis,
Rosa Yemen,
Pharaoh Sanders and the Fire Engines,
Das Ding, Das Ding, Das Ding, Das Ding.
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.