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 Peru and from Woodstock.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Taipei and Woodstock.
I'm losing my edge to the art-school Madrid 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 oboe 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 Letta Mbulu to the grunge kids.
I played it at the Troubador.
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 Juan Atkins. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every MDC record on German import.
I heard that you have a white label of every seminal grime 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 güiro and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Wake,
Matthew Bourne,
The Kinks,
Manfred Mann's Earth Band,
Minor Threat,
Rapeman,
It's A Beautiful Day,
Toni Rubio,
Angels of Light & Akron/Family,
The Divine Comedy,
The Litter,
Tom Boy,
Nik Kershaw,
London Community Gospel Choir,
Intrusion,
Jawbox,
The Fuzztones,
La Düsseldorf,
Fugazi,
Joey Negro,
The Human League,
Sunsets and Hearts,
Spandau Ballet,
Smog,
Eli Mardock,
The Chocolate Watch Band,
Ajijia Myrayebe,
Banda Bassotti,
Connie Case,
Althea and Donna,
The Alarm Clocks,
Soul Sonic Force,
Procol Harum,
Dave Gahan,
Lou Christie,
The Moleskins,
Janne Schatter,
Major Organ And The Adding Machine,
Bobby Byrd,
The Jesus and Mary Chain,
Scratch Acid,
The Fall,
Deutsch Amerikanische Freundschaft,
Robert Wyatt,
Sly & The Family Stone,
Radio Birdman,
The Slits,
The Detroit Cobras,
The Fire Engines,
B.T. Express,
Fat Boys,
Neil Young,
Roy Ayers,
Bizarre Inc.,
Crash Course in Science,
Grandmaster Flash and the Furious Five,
The Doobie Brothers,
Vladislav Delay,
Young Marble Giants,
The West Coast Pop Art Experimental Band,
Man Parrish,
DJ Style,
Joe Finger,
Minutemen,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.