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 Cuba and from Madrid.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Jakarta.
I'm losing my edge to the art-school Glasgow 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Avey Tare to the grime kids.
I played it at the 40 Watt.
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 B.T. Express. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Loose Ends 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 '70s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Tropical Tobacco,
June Days,
Spoonie Gee,
Quando Quango,
Mars,
The American Breed,
Brass Construction,
Pussy Galore,
Reagan Youth,
Kerrie Biddell,
Cheater Slicks,
Monolake,
DJ Sneak,
Derrick Morgan,
Chris Corsano,
Johnny Osbourne,
Morten Harket,
Fluxion,
Vladislav Delay,
Gian Franco Pienzio,
Crash Course in Science,
LL Cool J,
John Holt,
Icehouse,
Spandau Ballet,
The Gladiators,
Soulsonic Force,
Gang Green,
The Walker Brothers,
Cal Tjader,
Magazine,
Patti Smith,
Orchestral Manoeuvres in the Dark,
Max Romeo,
10cc,
Colin Newman,
Newcleus,
Althea and Donna,
Ronan,
Pantytec,
PIL,
Babytalk,
Pharaoh Sanders and the Fire Engines,
Bad Manners,
the Bar-Kays,
Cybotron,
Angels of Light & Akron/Family,
Schoolly D,
Warsaw,
Teenage Jesus and the Jerks,
The Saints,
Crime,
Average White Band,
Eve St. Jones,
Vainqueur,
Radiohead,
Bobby Sherman,
Los Fastidios,
Suburban Knight,
Robert Görl,
Surgeon,
Jerry Gold Smith,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.