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 Morocco and from Manchester.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and London.
I'm losing my edge to the art-school Accra 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 1984 at the first Arcadia practice in a loft in London.
I was working on the rhodes 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 Arcadia to the grime kids.
I played it at Trash.
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 Iggy Pop. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Marvin Gaye 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 '50s cut and another box set from the '90s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
X-101,
Banda Bassotti,
Nik Kershaw,
Scratch Acid,
Terrestrial Tones,
Gabor Szabo,
Iggy Pop,
Skaos,
Stockholm Monsters,
Drexciya,
Marc Romboy vs. Booka Shade,
Scientists,
Silicon Teens,
Surgeon,
The Dave Clark Five,
The Fortunes,
cv313,
Bootsy Collins,
Lalann,
the Soft Cell,
Brothers Johnson,
The Dead C,
10cc,
Danielle Patucci,
Grauzone,
Rowland S Howard / Lydia Lunch,
Peter and Kerry,
Con Funk Shun,
Matthew Bourne,
Tomorrow,
UT,
Half Japanese,
Crash Course in Science,
Sugar Minott,
MDC,
Unwound,
Minutemen,
Soft Cell,
Mandrill,
Slick Rick,
Massinfluence,
Avey Tare's Slasher Flicks,
Max Romeo,
Little Man,
Aswad,
Talk Talk,
Crooked Eye,
Black Bananas,
Piero Umiliani,
Mary Jane Girls,
Bush Tetras,
Country Joe & The Fish,
Thompson Twins,
The Angels of Light,
Gerry Rafferty,
Super Lover Cee & Casanova Rud,
The Tremeloes,
Eric Dolphy,
Pylon,
the Human League,
Lizzy Mercier Descloux,
Judy Mowatt,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.