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 Monaco and from Bremen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Mumbai.
I'm losing my edge to the art-school Tokyo 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the guitar 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 Gerry Rafferty 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 The Names. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every James White and The Blacks 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 guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Scan 7 record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Bananas,
Radiohead,
The Smoke,
Barclay James Harvest,
Pantaleimon,
Cecil Taylor,
Beasts of Bourbon,
Black Sheep,
Fear,
Ronan,
Quadrant,
Ultravox,
The Mighty Diamonds,
Sugar Minott,
EPMD,
The Gun Club,
The Cure,
The Happenings,
Ultimate Spinach,
John Lydon,
Glambeats Corp.,
The Blackbyrds,
Cameo,
Matthew Bourne,
Jesper Dahlback,
The Tremeloes,
Sly & The Family Stone,
The Slackers,
The Fugs,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
ABC,
Pharoah Sanders,
Camberwell Now,
Roger Hodgson,
Excepter,
Manfred Mann's Earth Band,
Tom Boy,
Roy Ayers Ubiquity,
Gil Scott-Heron and Jamie xx,
The Index,
Sun City Girls,
Sound Behaviour,
The Shadows of Knight,
The West Coast Pop Art Experimental Band,
Alison Limerick,
Red Lorry Yellow Lorry,
Quando Quango,
The Mojo Men,
Rotary Connection,
Avey Tare,
cv313,
Alphaville,
Larry & the Blue Notes,
The Invisible,
Minnie Riperton,
Electric Prunes,
The Techniques,
Curtis Mayfield,
The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy.
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.