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 Montenegro and from Spokane.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1979.
I'm losing my edge.
To all the kids in Copenhagen and Hong Kong.
I'm losing my edge to the art-school Manila 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Count Five to the grime 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 Beasts of Bourbon. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Brothers Johnson record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your snare and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Wings,
Blake Baxter,
Second Layer,
Sexual Harrassment,
Mr. Review,
Soft Machine,
Slick Rick,
Zapp,
Quadrant,
Au Pairs,
Blancmange,
Gary Puckett & The Union Gap,
Lalann,
Crime,
MDC,
Masters at Work,
Major Organ And The Adding Machine,
Brothers Johnson,
Thompson Twins,
The Selecter,
Marshall Jefferson,
Fort Wilson Riot,
Depeche Mode,
F. McDonald,
Thinking Fellers Union Local 282,
The Walker Brothers,
Radiohead,
L. Decosne,
Visionaries,LMNO, T- Love & Iriscience,
Anthony Braxton,
Jeru the Damaja,
The Doors,
Section 25,
Black Sheep,
Agent Orange,
Flamin' Groovies,
Andrew Ashong & Theo Parrish,
London Community Gospel Choir,
Soft Cell,
Spoonie Gee,
Patti Smith,
The Saints,
Ituana,
Echospace,
The Human League,
Josef K,
Youth Brigade,
Lou Reed,
Freddie Wadling,
Lyres,
Symarip,
Clear Light,
Mark Hollis,
Harpers Bizarre,
Kas Product,
Aaron Thompson,
cv313,
Maurizio,
Carl Craig,
Al Stewart,
One Last Wish,
10cc, 10cc, 10cc, 10cc.
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.