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 Ecuador and from Winnipeg.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
I'm losing my edge to the art-school Spokane 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba 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 Wighnomy Brothers & Robag Wruhme to the punk 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 Q65. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every Sun City Girls record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Chrome,
David Axelrod,
Donald Byrd,
L. Decosne,
Black Moon,
Masters at Work,
Camouflage,
The Dave Clark Five,
Jeff Mills,
Minor Threat,
Jacob Miller,
Shuggie Otis,
John Foxx,
Man Parrish,
Joey Negro,
The Associates,
Grandmaster Flash,
Minnie Riperton,
Roy Ayers Ubiquity,
Ralphi Rosario,
Todd Terry,
Yaz,
Letta Mbulu,
Parry Music,
Lizzy Mercier Descloux,
Black Pus,
The Gun Club,
Gabor Szabo,
Rapeman,
The Move,
Crispy Ambulance,
The Seeds,
Talk Talk,
Scrapy,
Tom Boy,
Crime,
Gary Puckett & The Union Gap,
Captain Beefheart & His Magic Band,
Idris Muhammad,
Monks,
Avey Tare's Slasher Flicks,
Joyce Sims,
Circle Jerks,
The Men They Couldn't Hang,
Howard Jones,
June of 44,
The Electric Prunes,
Flipper,
Kaleidoscope,
Gil Scott Heron,
Jesper Dahlback,
Eurythmics,
kango's stein massive,
The Monks,
Harpers Bizarre,
Lalann,
the Slits,
Qualms,
The Slackers,
Bluetip, Bluetip, Bluetip, Bluetip.
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.