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 Italy and from Bremen.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1979.
I'm losing my edge.
To all the kids in Manchester and Copenhagen.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the theremin 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 Roy Ayers to the funk 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 Colin Newman. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every Deepchord 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
the Slits,
Intrusion,
A Certain Ratio,
Oblivians,
Siouxsie and the Banshees,
John Coltrane,
Television,
Matthew Bourne,
Notorious BIG live in Amsterdam,
Fear,
Angels of Light & Akron/Family,
Godley & Creme,
Metal Thangz,
The Neon Judgement,
Dawn Penn,
The Moleskins,
Franke,
Gong,
Roger Hodgson,
The Monochrome Set,
Alison Limerick,
Sister Nancy,
Angry Samoans,
Throbbing Gristle,
Black Sheep,
John Lydon,
The Detroit Cobras,
MDC,
Sexual Harrassment,
Lizzy Mercier Descloux,
KRS-One,
Gil Scott Heron,
The Pop Group,
Frankie Knuckles,
Bobby Womack,
The Cowsills,
Crooked Eye,
Hasil Adkins,
Procol Harum,
The Jesus and Mary Chain,
Oppenheimer Analysis,
Ponytail,
The Cramps,
Aaron Thompson,
Can,
Jeru the Damaja,
Ultramagnetic MC's,
Warsaw,
Cymande,
Bill Wells,
The Toasters,
Gary Puckett & The Union Gap,
Janne Schatter,
Be Bop Deluxe,
Cheater Slicks,
Arcadia,
Con Funk Shun,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.