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 Tuvalu and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1978.
I'm losing my edge.
To all the kids in Woodstock and Copenhagen.
I'm losing my edge to the art-school Lagos 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 güiro 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 Wighnomy Brothers & Robag Wruhme to the funk 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 Pantaleimon. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Spandau Ballet 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Terrestrial Tones,
Gregory Isaacs,
Johnny Osbourne,
Lucky Dragons,
The Modern Lovers,
The Music Machine,
Sarah Menescal,
Radio Birdman,
Ten City,
Warsaw,
Ituana,
Technova,
The Fall,
The Dead C,
Jesper Dahlback,
Warren Ellis,
Kool G Rap & DJ Polo,
the Swans,
Mr. Review,
Cybotron,
Rhythim Is Rhythim,
Tears for Fears,
UT,
Gang Gang Dance,
Kerri Chandler,
Lightning Bolt,
Darondo,
Notorious BIG live in Amsterdam,
Lower 48,
Slick Rick,
Cecil Taylor,
Buzzcocks,
Todd Terry,
Yazoo,
Amon Düül II,
the Bar-Kays,
Motorama,
Masters at Work,
Thee Headcoats,
Vaughan Mason & Crew,
Lou Reed & John Cale,
Black Moon,
A Flock of Seagulls,
kango's stein massive,
Janne Schatter,
Super Lover Cee & Casanova Rud,
John Holt,
The Mummies,
Negative Approach,
The Monks,
World's Most,
Sun Ra,
Talk Talk,
Zapp,
Adolescents,
Rufus Thomas,
Moebius,
The Motions,
Alice Coltrane,
Camouflage, Camouflage, Camouflage, Camouflage.
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.