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 Slovenia and from Calgary.
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 1974.
I'm losing my edge.
To all the kids in Tehran and Tokyo.
I'm losing my edge to the art-school Copenhagen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Nile Rodgers 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 Sound to the jazz kids.
I played it at the Crocodile.
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 Kayak. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every The Skatalites 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a FM Einheit record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
Kerrie Biddell,
Second Layer,
Bobby Womack,
Eddi Front,
Reagan Youth,
Albert Ayler,
La Düsseldorf,
Camberwell Now,
Alton Ellis,
the Human League,
Bluetip,
Unwound,
Röyhkä ja Rättö ja Lehtisalo,
Eden Ahbez,
Notorious Big And Bone Thugs,
Oppenheimer Analysis,
Index,
The Happenings,
Cheater Slicks,
Stockholm Monsters,
Lizzy Mercier Descloux,
The Litter,
Brick,
Deepchord,
The Index,
Robert Wyatt,
8 Eyed Spy,
Roy Ayers,
Joensuu 1685,
Graham Central Station,
Kayak,
Harry Pussy,
John Lydon,
Piero Umiliani,
Moby Grape,
Ornette Coleman,
the Soft Cell,
The Neon Judgement,
Depeche Mode,
Max Romeo,
Buzzcocks,
Nas,
Japan,
B.T. Express,
Eli Mardock,
A Certain Ratio,
London Community Gospel Choir,
Lou Christie,
The Monks,
Ultravox,
Shuggie Otis,
Red Lorry Yellow Lorry,
Cal Tjader,
Echo & the Bunnymen,
Symarip,
Pere Ubu,
48th St. Collective,
Boredoms,
L. Decosne,
Henry Cow,
Mad Mike,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.