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 Uganda and from Paris.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Manila.
I'm losing my edge to the art-school Winnipeg 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 chamberlin 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 JFA 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 Scan 7. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Groovy Waters record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bang On A Can record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
Gian Franco Pienzio,
Vaughan Mason & Crew,
Jimmy McGriff,
The Selecter,
The Happenings,
Terrestrial Tones,
Pere Ubu,
Sound Behaviour,
Strawberry Alarm Clock,
The Pretty Things,
Barclay James Harvest,
Kurtis Blow,
The Real Kids,
Wasted Youth,
Mark Hollis,
Bob Dylan,
Gil Scott-Heron and Jamie xx,
Interpol,
Harry Pussy,
Sun Ra,
Malaria!,
Bush Tetras,
Urselle,
Sex Pistols,
World's Most,
Marine Girls,
Joe Smooth,
the Fania All-Stars,
Kerrie Biddell,
Barrington Levy,
Eve St. Jones,
Peter and Kerry,
Thompson Twins,
Desert Stars,
Scrapy,
Be Bop Deluxe,
The Young Rascals,
The Grass Roots,
T. Rex,
Arthur Verocai,
Vainqueur,
The Mojo Men,
Roy Ayers,
Mad Mike,
Steve Hackett,
Groovy Waters,
Pet Shop Boys,
Prince Buster,
Barbara Tucker,
Faust,
Smog,
Marvin Gaye,
Stiv Bators,
Duran Duran,
Yellowson,
Absolute Body Control,
Nico,
Curtis Mayfield,
The Pop Group,
Skarface, Skarface, Skarface, Skarface.
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.