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 Mexico and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Seoul and Johannesburg.
I'm losing my edge to the art-school Spokane 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Al Stewart to the techno 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 Wally Richardson. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Bad Manners record on German import.
I heard that you have a white label of every seminal jazz 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 a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Arcadia record.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mighty Diamonds,
Brick,
Piero Umiliani,
Lafayette Afro Rock Band,
Scratch Acid,
The Fuzztones,
Ronan,
The Kinks,
Marc Almond,
John Coltrane,
The Alarm Clocks,
The Remains,
Malaria!,
Faust,
Tears for Fears,
The Saints,
Donny Hathaway,
the Soft Cell,
The Star Department,
A Certain Ratio,
Sun Ra Arkestra,
Gang Gang Dance,
Unwound,
Roy Ayers Ubiquity,
Mission of Burma,
The Count Five,
Al Stewart,
K-Klass,
the Normal,
Vainqueur,
Derrick Morgan,
Marshall Jefferson,
London Community Gospel Choir,
Lucky Dragons,
Jerry Gold Smith,
Nas,
Eve St. Jones,
Kerrie Biddell,
F. McDonald,
Jacques Brel,
Judy Mowatt,
Bang On A Can,
Lyres,
Avey Tare & Kría Brekkan,
Marvin Gaye,
The Sisters of Mercy,
The Standells,
Sonny Sharrock,
Kaleidoscope,
The Raincoats,
Average White Band,
These Immortal Souls,
Ultra Naté,
Carl Craig,
Circle Jerks,
The Barracudas,
Mr. Review,
Babytalk,
Second Layer,
Mo-Dettes,
Junior Murvin, Junior Murvin, Junior Murvin, Junior Murvin.
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.