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 Macedonia and from Delhi.
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 1969 to 1976.
I'm losing my edge.
To all the kids in New York and Accra.
I'm losing my edge to the art-school New York 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 mellotron 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 Motions to the punk 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 The Blackbyrds. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Cybotron 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Groovy Waters,
Matthew Halsall,
Scan 7,
Michelle Simonal,
The Dead C,
Eurythmics,
Q and Not U,
Traffic Nightmare,
Faraquet,
the Soft Cell,
Carl Craig,
Zapp,
Con Funk Shun,
Tommy Roe,
Porter Ricks,
Quando Quango,
The Beau Brummels,
Spoonie Gee,
Bill Wells,
FM Einheit,
Connie Case,
Patti Smith,
Isaac Hayes,
Rowland S Howard / Lydia Lunch,
Blancmange,
Spandau Ballet,
The Star Department,
Gil Scott-Heron and Jamie xx,
Main Source,
Bootsy Collins,
Mad Mike,
Tim Buckley,
The Music Machine,
Chris Corsano,
Cameo,
Duran Duran,
Teenage Jesus and the Jerks,
Marine Girls,
Surgeon,
Radio Birdman,
Terry Callier,
Prince Buster,
The West Coast Pop Art Experimental Band,
Eyeless In Gaza,
Rekid,
DeepChord presents Echospace,
Procol Harum,
Delon & Dalcan,
The Human League,
ABC,
The Durutti Column,
Quantec,
Second Layer,
The Men They Couldn't Hang,
Talk Talk,
Jeff Lynne,
The Mighty Diamonds,
Cybotron,
The Cosmic Jokers,
Todd Terry,
Cal Tjader,
The Saints, The Saints, The Saints, The Saints.
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.