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 Namibia and from Bologna.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1969 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
I'm losing my edge to the art-school Toronto 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 güiro sounds with much patience.
I was there when Michael McDonald 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 Flipper to the grime kids.
I played it at the Hacienda.
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 Alton Ellis. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every Ultramagnetic MC's record on German import.
I heard that you have a white label of every seminal techno 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 a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
Model 500,
Dawn Penn,
Metal Thangz,
Henry Cow,
CMW,
Popol Vuh,
The Happenings,
Qualms,
Nico,
Ornette Coleman,
Con Funk Shun,
The Grass Roots,
Little Man,
Albert Ayler,
Country Teasers,
Bobby Hutcherson,
Harmonia,
Jimmy McGriff,
Cameo,
The Mummies,
Juan Atkins,
Minny Pops,
The United States of America,
The Smiths,
Groovy Waters,
The Music Machine,
The Searchers,
Ken Boothe,
Robert Wyatt,
Zero Boys,
Red Lorry Yellow Lorry,
Bob Dylan,
Infiniti,
Skriet,
Radiopuhelimet,
Suicide,
H. Thieme,
John Holt,
Althea and Donna,
Jeff Lynne,
The Barracudas,
Intrusion,
Black Bananas,
Amon Düül II,
Sonic Youth,
Monolake,
Erykah Badu,
Manfred Mann's Earth Band,
Electric Prunes,
Siouxsie and the Banshees,
Barrington Levy,
FM Einheit,
Terry Callier,
The Cure,
Index,
June Days,
Public Enemy,
Procol Harum,
The Sound,
Gong,
Derrick Morgan,
Guru Guru,
Crime, Crime, Crime, Crime.
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.