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 Bosnia Herzegovina and from New York.
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 1977.
I'm losing my edge.
To all the kids in Salvador and Tokyo.
I'm losing my edge to the art-school Manchester 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 Tomorrow to the rock kids.
I played it at the Roxy.
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 Young Rascals. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Bill Near record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
Sun City Girls,
Porter Ricks,
Roxy Music,
Barry Ungar,
Henry Cow,
Angry Samoans,
The Buckinghams,
Yazoo,
Isaac Hayes,
Deutsch Amerikanische Freundschaft,
Yaz,
The West Coast Pop Art Experimental Band,
The Last Poets,
The Motions,
The Black Dice,
Gang Gang Dance,
The Smiths,
Franke,
Wally Richardson,
Tim Buckley,
Sixth Finger,
Siouxsie and the Banshees,
Loose Ends,
Leonard Cohen,
Robert Görl,
Stetsasonic,
H. Thieme,
Brass Construction,
One Last Wish,
The Durutti Column,
Masters at Work,
Arab on Radar,
Connie Case,
Camron Feat. Memphis Bleek And Beenie Seigel,
Reuben Wilson,
Barbara Tucker,
Skarface,
Rotary Connection,
Schoolly D,
The Mummies,
Al Stewart,
Ronnie Foster,
Electric Prunes,
Roy Ayers,
Malaria!,
The Wake,
Cluster,
Avey Tare's Slasher Flicks,
48th St. Collective,
X-Ray Spex,
London Community Gospel Choir,
Maleditus Sound,
Ajijia Myrayebe,
Newcleus,
Stockholm Monsters,
Ten City,
Lee Hazlewood,
Excepter,
Banda Bassotti,
Derrick Morgan,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.