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 Paris.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Lagos and Calgary.
I'm losing my edge to the art-school Sao Paulo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator 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 Masters at Work to the rap kids.
I played it at the Troubador.
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 Franke. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Cymande record on German import.
I heard that you have a white label of every seminal grunge 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 harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Funky Four + One record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Basic Channel,
Larry & the Blue Notes,
The Count Five,
The Happenings,
Jeff Mills,
Suburban Knight,
Gang Gang Dance,
Donald Byrd,
Faraquet,
Lonnie Liston Smith,
Jeff Lynne,
Scan 7,
Cal Tjader,
A Certain Ratio,
The Move,
Jeru the Damaja,
Warsaw,
Oppenheimer Analysis,
Gil Scott-Heron & Brian Jackson,
Marcia Griffiths,
Mark Hollis,
Brothers Johnson,
Bronski Beat,
Silicon Teens,
Leonard Cohen,
Arab on Radar,
Selector Dub Narcotic,
Red Lorry Yellow Lorry,
Boz Scaggs,
AZ,
Flipper,
Ornette Coleman,
Country Teasers,
Magazine,
The Trojans,
Siouxsie and the Banshees,
John Cale,
Eli Mardock,
Black Flag,
Mars,
The Knickerbockers,
Alphaville,
The Slackers,
The Searchers,
the Bar-Kays,
Black Bananas,
B.T. Express,
Cheater Slicks,
Junior Murvin,
Radio Birdman,
The Electric Prunes,
Barbara Tucker,
The Jesus and Mary Chain,
The Cure,
Be Bop Deluxe,
Franke,
Unrelated Segments,
The American Breed,
DeepChord presents Echospace,
Interpol, Interpol, Interpol, Interpol.
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.