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 Mongolia and from Cairo.
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 1978.
I'm losing my edge.
To all the kids in Johannesburg and Sao Paulo.
I'm losing my edge to the art-school Bologna 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the güiro 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 Matthew Bourne to the jazz kids.
I played it at the Hacienda.
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 Adolescents. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Malaria!,
Stereo Dub,
The Offenders,
Scott Walker,
The Barracudas,
the Normal,
Electric Light Orchestra,
The Litter,
Soft Cell,
London Community Gospel Choir,
Icehouse,
Heaven 17,
The Fuzztones,
Echospace,
Oblivians,
Susan Cadogan,
Cabaret Voltaire,
Ronnie Foster,
Y Pants,
The Saints,
The Electric Prunes,
Lou Reed & Metallica,
John Coltrane,
Model 500,
Johnny Clarke,
The Raincoats,
Sun Ra Arkestra,
The Invisible,
Fort Wilson Riot,
China Crisis,
Crash Course in Science,
The Mighty Diamonds,
Hardrive,
Slave,
The Busters,
The Last Poets,
Faraquet,
Slick Rick,
The Beau Brummels,
Quantec,
Lee Hazlewood,
Lonnie Liston Smith,
Vaughan Mason & Crew,
Freddie Wadling,
Nick Fraelich,
the Bar-Kays,
Bobby Byrd,
Livin' Joy,
Public Image Ltd.,
The Motions,
Joy Division,
Cheater Slicks,
Sad Lovers and Giants,
Mandrill,
Jimmy McGriff,
Sugar Minott,
Schoolly D,
The Blues Magoos,
Oppenheimer Analysis,
Gang of Four,
Terrestrial Tones,
Iggy Pop,
Tres Demented, Tres Demented, Tres Demented, Tres Demented.
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.