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 Kuwait and from Stockholm.
But I was there.
I was there in .
I was there at the first Suicide 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 1962 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Milan.
I'm losing my edge to the art-school Mexico City 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 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 Susan Cadogan to the punk 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 Essential Logic. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every The Human League 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 '80s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a David McCallum record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Toni Rubio,
X-Ray Spex,
Barclay James Harvest,
Franke,
Public Enemy,
Babytalk,
Pete Rock & C.L. Smooth,
Eli Mardock,
Trumans Water,
The Cowsills,
The Fire Engines,
Warsaw,
The Durutti Column,
Half Japanese,
Michelle Simonal,
The Fugs,
The Stooges,
Sound Behaviour,
Faust,
Gil Scott-Heron and Jamie xx,
Eric Dolphy,
Porter Ricks,
The Peanut Butter Conspiracy,
The Pop Group,
Lee Hazlewood,
Terrestrial Tones,
Smog,
The Neon Judgement,
Model 500,
Can,
The Cramps,
Rakim,
The Dirtbombs,
Thompson Twins,
London Community Gospel Choir,
Pantytec,
Joey Negro,
Accadde A,
X-102,
E-Dancer,
Camron Feat. Jay Z And Juelz,
Television,
Scan 7,
Idris Muhammad,
Scratch Acid,
The Blues Magoos,
Roxy Music,
Faraquet,
AZ,
Yusef Lateef,
Marc Almond,
Tim Buckley,
The Smoke,
The Offenders,
A Flock of Seagulls,
The Slits,
Rotary Connection,
Blossom Toes,
Tom Boy,
The Chocolate Watch Band,
Avey Tare,
Ten City, Ten City, Ten City, Ten City.
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.