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 Barbados and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Seoul and Halifax.
I'm losing my edge to the art-school Seoul 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 Wire practice in a loft in Watford.
I was working on the clarinet 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 The Martian to the funk kids.
I played it at the Astoria.
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 Smoke. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every The Misunderstood 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 a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Dead C record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Fela Kuti,
H. Thieme,
Boredoms,
Eden Ahbez,
Terry Callier,
Joyce Sims,
Roy Ayers Ubiquity,
Robert Görl,
The Barracudas,
Livin' Joy,
Curtis Mayfield,
The Pop Group,
Thompson Twins,
Rakim,
Piero Umiliani,
Deakin,
Franke,
Warren Ellis,
Ornette Coleman,
James White and The Blacks,
Whodini,
Maurizio,
Eyeless In Gaza,
Easy Going,
The Monochrome Set,
John Coltrane,
Ultramagnetic MC's,
Marcia Griffiths,
The Martian,
Robert Hood,
Marvin Gaye,
Swans,
Roxy Music,
DeepChord presents Echospace,
Suburban Knight,
Lower 48,
Negative Approach,
D'Angelo,
The Smoke,
Soul II Soul,
Theoretical Girls,
Motorama,
The Wake,
Blake Baxter,
Crash Course in Science,
JFA,
The Sisters of Mercy,
Isaac Hayes,
The Fire Engines,
Yellowson,
Orchestral Manoeuvres in the Dark,
Vladislav Delay,
a-ha,
June Days,
Mars,
The Black Dice,
Deadbeat,
Laurel Aitken,
Agitation Free,
World's Most, World's Most, World's Most, World's Most.
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.