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 Namibia and from Stockholm.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Philadelphia.
I'm losing my edge to the art-school Manchester 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 clarinet sounds with much patience.
I was there when David Bowie 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 Joensuu 1685 to the techno 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 Deadbeat. All the underground hits.
All Gong tracks. I heard you have a vinyl of every Circle Jerks 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonny Sharrock,
Kenny Larkin,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Sound,
Albert Ayler,
John Lydon,
Eric Dolphy,
Echo & the Bunnymen,
Zero Boys,
Lindisfarne,
Aswad,
The Victims,
Ossler,
Andrew Ashong & Theo Parrish,
Radio Birdman,
Scott Walker,
Piero Umiliani,
Quantec,
Blake Baxter,
The Cosmic Jokers,
Bluetip,
Dead Boys,
the Normal,
Marmalade,
The Selecter,
Al Stewart,
The New Christs,
Crash Course in Science,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Moss Icon,
Rekid,
Black Flag,
Barrington Levy,
Hashim,
Maurizio,
Deakin,
Lalo Schifrin,
Leonard Cohen,
Notorious BIG live in Amsterdam,
Tim Buckley,
Stiv Bators,
Loose Ends,
Bronski Beat,
Talk Talk,
Hoover,
Hot Snakes,
Matthew Halsall,
Desert Stars,
Erasure,
Depeche Mode,
Amon Düül,
Swans,
Kauko Röyhkä ja Narttu,
Japan,
The Litter,
Sound Behaviour,
Jesper Dahlback,
Bobby Sherman,
The Kinks,
Zapp,
8 Eyed Spy,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.