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 Antigua and from Halifax.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Philadelphia.
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 clarinet sounds with much patience.
I was there when David Bowie 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 Alison Limerick to the grime kids.
I played it at CBGB's.
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 Brass Construction. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Warren Ellis record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mighty Diamonds,
Gian Franco Pienzio,
Eden Ahbez,
Clear Light,
The Alarm Clocks,
Lakeside,
Pete Rock & C.L. Smooth,
Teenage Jesus and the Jerks,
Matthew Bourne,
The Knickerbockers,
Symarip,
This Heat,
Barrington Levy,
The Real Kids,
Barclay James Harvest,
Wolf Eyes,
Brothers Johnson,
The Walker Brothers,
Saccharine Trust,
Strawberry Alarm Clock,
Minutemen,
The Wake,
Trumans Water,
Sarah Menescal,
Blake Baxter,
Sugar Minott,
Magma,
Gabor Szabo,
Sun Ra Arkestra,
UT,
Half Japanese,
Hot Snakes,
Nation of Ulysses,
cv313,
Andrew Ashong & Theo Parrish,
John Coltrane,
Funky Four + One,
David McCallum,
A Flock of Seagulls,
Mars,
H. Thieme,
Surgeon,
Ponytail,
Camberwell Now,
The Dave Clark Five,
Eddi Front,
Man Parrish,
Ultra Naté,
Bob Dylan,
Gichy Dan,
the Soft Cell,
Monolake,
Rakim,
The Golliwogs,
Scientists,
Dennis Brown,
Cybotron,
Anthony Braxton,
Bill Near,
The Cure,
Dark Day,
Au Pairs,
World's Most, World's Most, World's Most, World's Most.
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.