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 East Timor and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1970.
I'm losing my edge.
To all the kids in New York and Woodstock.
I'm losing my edge to the art-school Hong Kong 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 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 Dawn Penn to the punk kids.
I played it at the Astoria.
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 Byron Stingily. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Soulsonic Force record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
Ronnie Foster,
The Moleskins,
X-101,
Popol Vuh,
Al Stewart,
Vladislav Delay,
Niagra,
The Young Rascals,
Neu!,
Roy Ayers Ubiquity,
Josef K,
The Doobie Brothers,
Joe Smooth,
Tubeway Army,
Thee Headcoats,
L. Decosne,
Ten City,
Jeff Lynne,
Magazine,
The Pop Group,
X-Ray Spex,
The Sisters of Mercy,
Quando Quango,
Blake Baxter,
Toni Rubio,
Intrusion,
Deakin,
Eric B and Rakim,
Saccharine Trust,
Wolf Eyes,
The Fortunes,
the Soft Cell,
the Slits,
Liliput,
Eric Dolphy,
Qualms,
Pagans,
cv313,
The Standells,
The Detroit Cobras,
Stetsasonic,
The New Christs,
ABC,
Cal Tjader,
Bang On A Can,
Symarip,
Bang on a Can All-Stars,
The Buckinghams,
Lyres,
The Associates,
8 Eyed Spy,
James Chance & The Contortions,
The American Breed,
Pussy Galore,
The Cure,
London Community Gospel Choir,
Skaos,
The Searchers,
Connie Case,
This Heat,
Lower 48,
Gang Green,
Flipper, Flipper, Flipper, Flipper.
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.