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 Bosnia Herzegovina and from Bologna.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1979.
I'm losing my edge.
To all the kids in Mumbai and London.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the güiro 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 Pere Ubu to the jazz kids.
I played it at the Roxy.
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 Dennis Brown. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
X-Ray Spex,
MDC,
LL Cool J,
Swell Maps,
Shuggie Otis,
Joey Negro,
Funkadelic,
Mo-Dettes,
The Pretty Things,
Moby Grape,
Newcleus,
David McCallum,
JFA,
Dark Day,
Lyres,
Tubeway Army,
Pulsallama,
Ultra Naté,
Little Man,
Gang Green,
Soft Cell,
The Velvet Underground,
Black Bananas,
Robert Wyatt,
Siouxsie and the Banshees,
Davy DMX,
Peter and Kerry,
Crispy Ambulance,
The Mummies,
Black Flag,
a-ha,
Fat Boys,
ABBA,
Gil Scott Heron,
Maleditus Sound,
Blancmange,
Donald Byrd,
Spandau Ballet,
Carl Craig,
Porter Ricks,
The Star Department,
Talk Talk,
Robert Hood,
Crooked Eye,
James Chance & The Contortions,
Con Funk Shun,
A Flock of Seagulls,
The Gories,
The Doobie Brothers,
Arthur Verocai,
The Cosmic Jokers,
the Association,
Gabor Szabo,
Spoonie Gee,
the Normal,
Angels of Light & Akron/Family,
Black Moon,
Nation of Ulysses,
Trumans Water,
Ituana,
Lou Christie,
Lafayette Afro Rock Band,
Absolute Body Control, Absolute Body Control, Absolute Body Control, Absolute Body Control.
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.