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 Djibouti and from Paris.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Accra.
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 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 De La Soul & Jungle Brothers to the crunk 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 Barrington Levy. All the underground hits.
All The Knickerbockers tracks. I heard you have a vinyl of every Con Funk Shun 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
The Grass Roots,
Banda Bassotti,
Bluetip,
Darondo,
Janne Schatter,
Country Teasers,
Roger Hodgson,
Deakin,
Andrew Ashong & Theo Parrish,
The Young Rascals,
Gichy Dan,
Junior Murvin,
Eden Ahbez,
Newcleus,
Manfred Mann's Earth Band,
Robert Hood,
Sugar Minott,
Ajijia Myrayebe,
John Cale,
Strawberry Alarm Clock,
Joe Smooth,
The Star Department,
Charles Mingus,
Freddie Wadling,
Bauhaus,
Accadde A,
Mandrill,
The Stooges,
The Leaves,
Gil Scott Heron,
Joy Division,
The Vogues,
Wolf Eyes,
Beasts of Bourbon,
Mark Hollis,
Throbbing Gristle,
Mary Jane Girls,
Archie Shepp,
Fifty Foot Hose,
The Remains,
The Evens,
Popol Vuh,
June Days,
Piero Umiliani,
Cameo,
Radiopuhelimet,
Dead Boys,
Ultimate Spinach,
Erykah Badu,
The Detroit Cobras,
Ludus,
Soul II Soul,
MDC,
Max Romeo,
Lebanon Hanover,
Subhumans,
Avey Tare & Kría Brekkan,
The Royal Family And The Poor,
Lou Reed & John Cale,
Shuggie Otis,
Swans,
Urselle, Urselle, Urselle, Urselle.
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.