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 Zambia and from Johannesburg.
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 1978.
I'm losing my edge.
To all the kids in Beijing and Mumbai.
I'm losing my edge to the art-school Sao Paulo 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 clarinet sounds with much patience.
I was there when Donald Fagen 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 Young Marble Giants to the jazz 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 Deepchord. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every Urselle record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rekid,
Steve Hackett,
The Cure,
The Fugs,
The Offenders,
Angry Samoans,
Camron Feat. Memphis Bleek And Beenie Seigel,
The United States of America,
Peter Gordon & Love of Life Orchestra,
Bobby Byrd,
Eli Mardock,
Gang Green,
Johnny Osbourne,
Fat Boys,
Lizzy Mercier Descloux,
Cameo,
The Cramps,
Wally Richardson,
The Durutti Column,
Darondo,
Country Joe & The Fish,
Notorious Big And Bone Thugs,
Pete Rock & C.L. Smooth,
Girls At Our Best!,
Beasts of Bourbon,
Procol Harum,
L. Decosne,
Harpers Bizarre,
Ultramagnetic MC's,
Magazine,
Derrick May,
The Smoke,
The Mojo Men,
The Evens,
The Index,
The Knickerbockers,
David Axelrod,
Brand Nubian,
Blancmange,
Newcleus,
The Doors,
Gary Puckett & The Union Gap,
Au Pairs,
Louis and Bebe Barron,
Susan Cadogan,
the Germs,
ABC,
Public Image Ltd.,
K-Klass,
London Community Gospel Choir,
Dual Sessions,
Los Fastidios,
Henry Cow,
Second Layer,
Vladislav Delay,
Glambeats Corp.,
Nick Cave & The Bad Seeds,
Jesper Dahlback,
Matthew Bourne,
Sugar Minott,
Black Flag,
The Sisters of Mercy,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.