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 Barbados and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1972.
I'm losing my edge.
To all the kids in Milan and Houston.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin 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 Outsiders to the jazz kids.
I played it at Trash.
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 Marcia Griffiths. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every T.S.O.L. record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lou Christie record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
The Flesh Eaters,
Fatback Band,
E-Dancer,
Traffic Nightmare,
The Modern Lovers,
Livin' Joy,
Idris Muhammad,
China Crisis,
The Skatalites,
Sun Ra Arkestra,
Oblivians,
Circle Jerks,
Spoonie Gee,
Eurythmics,
Make Up,
Drexciya,
Inner City,
Y Pants,
Black Bananas,
Tubeway Army,
Mantronix,
Yusef Lateef,
Ajijia Myrayebe,
Pete Rock & C.L. Smooth,
The Durutti Column,
Whodini,
Angels of Light & Akron/Family,
Technova,
Fear,
Stereo Dub,
Youth Brigade,
Eden Ahbez,
Guru Guru,
Eve St. Jones,
Sister Nancy,
The Misunderstood,
Fela Kuti,
Alison Limerick,
Judy Mowatt,
Minny Pops,
Maleditus Sound,
Q and Not U,
Vaughan Mason & Crew,
Silicon Teens,
Saccharine Trust,
Model 500,
Robert Wyatt,
Ponytail,
Magazine,
Wire,
Kool Moe Dee,
X-Ray Spex,
Henry Cow,
The Fall,
Archie Shepp,
Joy Division,
Drive Like Jehu,
Junior Murvin,
Camouflage,
Röyhkä ja Rättö ja Lehtisalo,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.