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 Andorra and from Tehran.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1978.
I'm losing my edge.
To all the kids in Beijing and Salvador.
I'm losing my edge to the art-school Manila 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 theremin 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 Eurythmics to the jazz kids.
I played it at the Crocodile.
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 Aswad. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Brand Nubian record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Quantec record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Angels of Light,
Crooked Eye,
Avey Tare,
Connie Case,
Kool G Rap & DJ Polo,
Aaron Thompson,
Harry Pussy,
Peter Gordon & Love of Life Orchestra,
Be Bop Deluxe,
Sound Behaviour,
John Cale,
Electric Light Orchestra,
The Knickerbockers,
Bizarre Inc.,
The Grass Roots,
Sunsets and Hearts,
CMW,
Bad Manners,
Tropical Tobacco,
Andrew Hill,
Traffic Nightmare,
Kayak,
Faust,
Don Cherry,
Pharaoh Sanders and the Fire Engines,
Letta Mbulu,
The Fall,
Bobby Byrd,
Buzzcocks,
Eve St. Jones,
Rhythm & Sound,
Rosa Yemen,
Gregory Isaacs,
Jandek,
Sly & The Family Stone,
Soul II Soul,
The Invisible,
The Motions,
The Wake,
Big Daddy Kane,
Jawbox,
Desert Stars,
Super Lover Cee & Casanova Rud,
The Five Americans,
Hasil Adkins,
K-Klass,
James White and The Blacks,
Isaac Hayes,
Joe Finger,
Orchestral Manoeuvres in the Dark,
The Residents,
The Modern Lovers,
Outsiders,
Brand Nubian,
Hoover,
Soulsonic Force,
The Smiths,
Main Source,
John Lydon,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.