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 Calgary.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1975.
I'm losing my edge.
To all the kids in Halifax and Bologna.
I'm losing my edge to the art-school London 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 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 Donald Byrd to the jazz 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 Rapeman. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Letta Mbulu record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Vogues,
Simply Red,
cv313,
Danielle Patucci,
The Kinks,
Brass Construction,
Erykah Badu,
Spoonie Gee,
Nico,
Interpol,
The Young Rascals,
Lower 48,
Lucky Dragons,
Justin Hinds & The Dominoes,
Cameo,
Skarface,
Ludus,
Jerry Gold Smith,
Lonnie Liston Smith,
Amon Düül II,
Zero Boys,
Aural Exciters,
The Mojo Men,
Sun City Girls,
The Walker Brothers,
The Mighty Diamonds,
Todd Terry,
Avey Tare,
Adolescents,
Qualms,
Deepchord,
Smog,
Suburban Knight,
Fluxion,
Lalo Schifrin,
Derrick May,
Rakim,
The Techniques,
The Pretty Things,
the Bar-Kays,
Jandek,
Michelle Simonal,
Electric Light Orchestra,
Shuggie Otis,
Pussy Galore,
Wighnomy Brothers & Robag Wruhme,
Marine Girls,
Goldenarms,
K-Klass,
The Offenders,
Hasil Adkins,
Sex Pistols,
Lindisfarne,
Delon & Dalcan,
Red Lorry Yellow Lorry,
Nas,
Clear Light,
Roy Ayers Ubiquity,
Absolute Body Control,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.