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 Yemen and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Paris and Copenhagen.
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 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 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 The Litter to the punk 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 Barclay James Harvest. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Qualms 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 '70s cut and another box set from the '70s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Pere Ubu,
Soul II Soul,
Sex Pistols,
Derrick May,
Dennis Brown,
Rod Modell,
Main Source,
Silicon Teens,
Gregory Isaacs,
Davy DMX,
Bad Manners,
Anthony Braxton,
John Foxx,
Major Organ And The Adding Machine,
The Modern Lovers,
L. Decosne,
Letta Mbulu,
Juan Atkins,
The Offenders,
Flash Fearless,
The New Christs,
Sunsets and Hearts,
Brothers Johnson,
Selector Dub Narcotic,
Crash Course in Science,
The Fall,
Slave,
Kayak,
James Chance & The Contortions,
Marc Almond,
Ultramagnetic MC's,
The Jesus and Mary Chain,
Joe Smooth,
Lebanon Hanover,
Iggy Pop,
Cymande,
Public Enemy,
One Last Wish,
The West Coast Pop Art Experimental Band,
Heaven 17,
Marcia Griffiths,
Frankie Knuckles,
Boz Scaggs,
Wings,
James White and The Blacks,
Avey Tare & Kría Brekkan,
The Knickerbockers,
Fort Wilson Riot,
Simply Red,
The Dave Clark Five,
The Names,
Stiv Bators,
Terry Callier,
Larry & the Blue Notes,
Rufus Thomas,
Oppenheimer Analysis,
Moss Icon,
Sun Ra,
Fluxion,
a-ha,
Kings Of Tomorrow,
Bobby Byrd, Bobby Byrd, Bobby Byrd, Bobby Byrd.
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.