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 Eritrea and from Mexico City.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Paris and Cairo.
I'm losing my edge to the art-school Lagos 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 spring reverb 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 John Holt to the crunk 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 Underground Resistance. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Soul II Soul record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Delon & Dalcan,
DJ Sneak,
The Selecter,
Amon Düül II,
Soft Cell,
Lucky Dragons,
Traffic Nightmare,
Motorama,
The Black Dice,
Sunsets and Hearts,
MDC,
Black Sheep,
Gong,
The Monochrome Set,
Kurtis Blow,
Andrew Ashong & Theo Parrish,
Vaughan Mason & Crew,
The Beau Brummels,
David Axelrod,
Buzzcocks,
ABC,
The New Christs,
Soul II Soul,
Minnie Riperton,
Theoretical Girls,
The Divine Comedy,
The Busters,
The Cramps,
Donald Byrd,
L. Decosne,
Marmalade,
Pole,
Derrick May,
Morten Harket,
Bobby Sherman,
Sällskapet,
John Foxx,
Livin' Joy,
Gil Scott Heron,
Hot Snakes,
Pere Ubu,
The Chocolate Watch Band,
Susan Cadogan,
Nation of Ulysses,
Kevin Saunderson,
Babytalk,
Harpers Bizarre,
Ultimate Spinach,
Soul Sonic Force,
Metal Thangz,
The Vogues,
Bauhaus,
The Trojans,
Arthur Verocai,
Royal Trux,
Blossom Toes,
The Angels of Light,
London Community Gospel Choir,
Los Fastidios,
Minny Pops,
X-102,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.