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 Brunei and from Lyon.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Jakarta and New York.
I'm losing my edge to the art-school Lagos 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin 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 Underground Resistance to the punk kids.
I played it at the Spitz.
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 Sticky Fingaz feat. Raekwon. All the underground hits.
All U.S. Maple tracks. I heard you have a vinyl of every Colin Newman record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Todd Terry,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Robert Wyatt,
Soft Machine,
The Techniques,
Lafayette Afro Rock Band,
Cymande,
Thee Headcoats,
KRS-One,
Vainqueur,
Girls At Our Best!,
the Normal,
Pantaleimon,
Gil Scott-Heron & Brian Jackson,
Scan 7,
Jimmy McGriff,
Derrick May,
The Invisible,
Sparks,
Minnie Riperton,
Alison Limerick,
Marmalade,
Juan Atkins,
Dark Day,
Avey Tare & Kría Brekkan,
A Certain Ratio,
Ajijia Myrayebe,
The Walker Brothers,
Eyeless In Gaza,
Sonny Sharrock,
Lalann,
Ossler,
ABBA,
It's A Beautiful Day,
Ornette Coleman,
Anakelly,
Richard Hell and the Voidoids,
Crispy Ambulance,
Stetsasonic,
Average White Band,
Piero Umiliani,
Drive Like Jehu,
Young Marble Giants,
Gang Starr,
Josef K,
The Gories,
The Doors,
Flamin' Groovies,
The Mummies,
Fear,
Wasted Youth,
Lindisfarne,
the Human League,
Smog,
the Soft Cell,
Gil Scott Heron,
F. McDonald,
Captain Beefheart & His Magic Band,
Bobby Byrd,
the Slits,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.