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 Tonga and from Woodstock.
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 1963 to 1979.
I'm losing my edge.
To all the kids in London and Seoul.
I'm losing my edge to the art-school Toronto 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 Human League practice in a loft in Sheffield.
I was working on the harpsichord 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 Dual Sessions 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 Essential Logic. All the underground hits.
All Girls At Our Best! tracks. I heard you have a vinyl of every Anakelly record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Black Sheep,
Quadrant,
Crispian St. Peters,
Bang On A Can,
Qualms,
Johnny Osbourne,
Max Romeo,
Pole,
Connie Case,
Spoonie Gee,
Lafayette Afro Rock Band,
Reagan Youth,
Deadbeat,
Q and Not U,
The Cowsills,
10cc,
Inner City,
Sun Ra Arkestra,
Dual Sessions,
The Names,
Bluetip,
Donny Hathaway,
Rufus Thomas,
Man Parrish,
The Toasters,
Monolake,
Fela Kuti,
Moss Icon,
The Blackbyrds,
Morten Harket,
Dennis Brown,
Pete Rock & C.L. Smooth,
The Gories,
Thompson Twins,
Freddie Wadling,
Andrew Hill,
Public Image Ltd.,
Echo & the Bunnymen,
Gil Scott-Heron and Jamie xx,
Ituana,
Soulsonic Force,
AZ,
Soul Sonic Force,
Peter & Gordon,
Colin Newman,
Grey Daturas,
Animal Collective,
The Misunderstood,
Marc Almond,
The Fortunes,
The Remains,
Kaleidoscope,
Rhythm & Sound,
Pantaleimon,
Index,
Flipper,
Wasted Youth,
Gerry Rafferty,
Hasil Adkins,
DJ Style, DJ Style, DJ Style, DJ Style.
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.