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 Palau and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Stockholm and Bremen.
I'm losing my edge to the art-school Delhi 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 808 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 Sarah Menescal to the dance kids.
I played it at the Astoria.
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 Make Up. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every Sarah Menescal record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soulsonic Force,
Soul II Soul,
Manfred Mann's Earth Band,
Nico,
John Lydon,
Beasts of Bourbon,
X-Ray Spex,
Sällskapet,
Eric B and Rakim,
Dave Gahan,
Amon Düül II,
Theoretical Girls,
Bush Tetras,
Hot Snakes,
The Happenings,
Delon & Dalcan,
Dorothy Ashby,
Eve St. Jones,
Anthony Braxton,
June Days,
Todd Terry,
Arthur Verocai,
London Community Gospel Choir,
Jeff Lynne,
Lalo Schifrin,
Absolute Body Control,
Public Image Ltd.,
The Last Poets,
The Fugs,
Kenny Larkin,
The Fire Engines,
Stiv Bators,
Bad Manners,
Faust,
Dual Sessions,
Strawberry Alarm Clock,
Gregory Isaacs,
The Zeros,
Notorious Big And Bone Thugs,
Eli Mardock,
Man Eating Sloth,
Nik Kershaw,
Orchestral Manoeuvres in the Dark,
Ultra Naté,
Larry & the Blue Notes,
Throbbing Gristle,
Sam Rivers,
Deadbeat,
Los Fastidios,
Depeche Mode,
Gang Green,
Sex Pistols,
Pagans,
Jimmy McGriff,
One Last Wish,
The Smiths,
Donald Byrd,
Bill Wells,
Anakelly,
Mars,
Flamin' Groovies,
Terry Callier, Terry Callier, Terry Callier, Terry Callier.
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.