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 Senegal and from Milan.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Bologna and Hong Kong.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Kurtis Blow to the rap kids.
I played it at the 40 Watt.
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 John Holt. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Yaz record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Visionaries,LMNO, T- Love & Iriscience,
Notorious Big And Bone Thugs,
John Cale,
Toni Rubio,
Grauzone,
Grandmaster Flash,
Massinfluence,
The Gap Band,
Roy Ayers Ubiquity,
Popol Vuh,
Bobby Byrd,
Pere Ubu,
The Music Machine,
Howard Jones,
London Community Gospel Choir,
Eric Copeland,
Reagan Youth,
FM Einheit,
Suburban Knight,
Surgeon,
Terrestrial Tones,
H. Thieme,
Nas,
Yazoo,
Mark Hollis,
R.M.O.,
Connie Case,
David Bowie,
Arcadia,
The Durutti Column,
Zero Boys,
Cheater Slicks,
Harmonia,
Leonard Cohen,
Spandau Ballet,
Rites of Spring,
Chrome,
Crime,
Nation of Ulysses,
Brass Construction,
Bang On A Can,
Reuben Wilson,
The Stooges,
The Saints,
Joyce Sims,
Q65,
Yellowson,
Index,
Rotary Connection,
Jeff Lynne,
The Monks,
Selector Dub Narcotic,
Average White Band,
In Retrospect,
Laurel Aitken,
Byron Stingily,
Charles Mingus,
Camron Feat. Jay Z And Juelz,
The Cowsills,
The Neon Judgement,
Al Stewart,
Severed Heads, Severed Heads, Severed Heads, Severed Heads.
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.