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 Brazil and from Halifax.
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 1975.
I'm losing my edge.
To all the kids in Woodstock and Philadelphia.
I'm losing my edge to the art-school Manchester 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 1978 at the first Visage practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 Fela Kuti to the electroclash kids.
I played it at the Troubador.
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 Jeru the Damaja. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every Josef K record on German import.
I heard that you have a white label of every seminal grunge 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 organ and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
Hasil Adkins,
Niagra,
Brass Construction,
Parry Music,
Funky Four + One,
Laurel Aitken,
Fifty Foot Hose,
Radiopuhelimet,
Amazonics,
The Index,
Quantec,
Siouxsie and the Banshees,
The Skatalites,
Danielle Patucci,
Scott Walker,
The Walker Brothers,
Gerry Rafferty,
Nico,
The Moody Blues,
Icehouse,
Ludus,
F. McDonald,
Röyhkä ja Rättö ja Lehtisalo,
Main Source,
Art Ensemble Of Chicago,
Babytalk,
Bobby Byrd,
Das Ding,
The Velvet Underground,
Sun Ra,
Ohio Players,
Intrusion,
The Buckinghams,
Stereo Dub,
Magma,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Marmalade,
Warsaw,
Malaria!,
Don Cherry,
Bobby Sherman,
Gian Franco Pienzio,
Rhythim Is Rhythim,
The Blues Magoos,
Andrew Hill,
Quadrant,
Saccharine Trust,
The Black Dice,
Arcadia,
Peter Gordon & Love of Life Orchestra,
Jacob Miller,
48th St. Collective,
Oblivians,
Lou Reed,
EPMD,
Sound Behaviour,
Super Lover Cee & Casanova Rud,
Rod Modell,
Donald Byrd,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.