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 Slovakia and from Madrid.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Salvador and Calgary.
I'm losing my edge to the art-school Manila 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the rhodes 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 Hoover to the jazz kids.
I played it at Trash.
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 Josef K. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Porter Ricks 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
Massinfluence,
Subhumans,
The Invisible,
Talk Talk,
The Velvet Underground,
Pulsallama,
Cabaret Voltaire,
Roy Ayers Ubiquity,
Panda Bear,
Scratch Acid,
Hashim,
Arcadia,
Magazine,
Soul Sonic Force,
Nik Kershaw,
Max Romeo,
Ultramagnetic MC's,
Reagan Youth,
Donald Byrd,
Saccharine Trust,
EPMD,
Sun City Girls,
Rosa Yemen,
Darondo,
Mr. Review,
Mark Hollis,
Warren Ellis,
Tres Demented,
The Smoke,
Vainqueur,
Rowland S Howard / Lydia Lunch,
Dennis Brown,
James White and The Blacks,
New Age Steppers,
Section 25,
Brick,
The Doobie Brothers,
Simply Red,
Faust,
Mandrill,
Spandau Ballet,
Parry Music,
Con Funk Shun,
Sunsets and Hearts,
Toni Rubio,
The Five Americans,
Joyce Sims,
Radiohead,
Bobby Byrd,
Jerry Gold Smith,
Moebius,
The Techniques,
Aloha Tigers,
JFA,
Notorious Big And Bone Thugs,
The J.B.'s,
X-101,
Wire,
Public Image Ltd.,
Man Eating Sloth,
Roy Ayers,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.