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 Guyana and from Tokyo.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 Mexico City and Manchester.
I'm losing my edge to the art-school Seoul 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the linndrum 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 Eli Mardock to the grunge 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 Notorious Big And Bone Thugs. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Intrusion record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Camouflage 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?
Pussy Galore,
Albert Ayler,
Lonnie Liston Smith,
Country Joe & The Fish,
Howard Jones,
10cc,
Letta Mbulu,
Anthony Braxton,
One Last Wish,
Lightning Bolt,
The United States of America,
Franke,
Josef K,
PIL,
DJ Style,
Derrick May,
Peter and Kerry,
Todd Terry,
Liaisons Dangereuses,
Ajijia Myrayebe,
Justin Hinds & The Dominoes,
The Grass Roots,
Skriet,
Bob Dylan,
Aaron Thompson,
Masters at Work,
Deepchord,
The Cosmic Jokers,
Echospace,
Flamin' Groovies,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Young Marble Giants,
Terry Callier,
Tim Buckley,
Barry Ungar,
Niagra,
Avey Tare,
Mad Mike,
The Zeros,
Bluetip,
Parry Music,
Tubeway Army,
Slave,
Boogie Down Productions,
The Doors,
Bill Wells,
Spandau Ballet,
Mo-Dettes,
Panda Bear,
Newcleus,
Peter Gordon & Love of Life Orchestra,
Von Mondo,
John Lydon,
Tears for Fears,
MC5,
Graham Central Station,
Lebanon Hanover,
Simply Red,
Stockholm Monsters,
The Fuzztones,
Don Cherry, Don Cherry, Don Cherry, Don Cherry.
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.