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 Trinidad & Tobago and from Bologna.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Cairo and Manila.
I'm losing my edge to the art-school Tehran 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 synthesizer 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 Brand Nubian to the funk kids.
I played it at the Spitz.
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 Mummies. All the underground hits.
All Ludus tracks. I heard you have a vinyl of every Mr. Review 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 '70s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your clarinet and bought a guitar.
I hear that you and your band have sold your guitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Dawn Penn,
the Germs,
Alison Limerick,
Ultra Naté,
Joe Smooth,
The Techniques,
Loose Ends,
Ronnie Foster,
AZ,
Wally Richardson,
Joe Finger,
Curtis Mayfield,
Black Sheep,
Tubeway Army,
Thompson Twins,
ABC,
The Durutti Column,
Vaughan Mason & Crew,
Quando Quango,
Mark Hollis,
Heaven 17,
Delon & Dalcan,
Lee Hazlewood,
Ohio Players,
Selector Dub Narcotic,
Justin Hinds & The Dominoes,
Stereo Dub,
Depeche Mode,
DJ Style,
London Community Gospel Choir,
the Soft Cell,
Chris & Cosey,
Notorious BIG live in Amsterdam,
Eve St. Jones,
The J.B.'s,
The New Christs,
Masters at Work,
T. Rex,
Rowland S Howard / Lydia Lunch,
Lindisfarne,
World's Most,
New Age Steppers,
Sällskapet,
Ajijia Myrayebe,
Marcia Griffiths,
Accadde A,
Be Bop Deluxe,
Thinking Fellers Union Local 282,
Marine Girls,
Judy Mowatt,
Groovy Waters,
Jacob Miller,
Lakeside,
Pet Shop Boys,
Charles Mingus,
The Count Five,
Mars,
Don Cherry,
The Human League,
Flamin' Groovies,
Sound Behaviour,
Visionaries,LMNO, T- Love & Iriscience,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.