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 Mozambique and from Madrid.
But I was there.
I was there in .
I was there at the first Suicide 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 1967 to 1971.
I'm losing my edge.
To all the kids in Manchester and Tehran.
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 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 Pantytec to the dance kids.
I played it at the Roxy.
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 Michelle Simonal. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every Jandek record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Ken Boothe,
Joe Finger,
Rapeman,
Yaz,
Sad Lovers and Giants,
The Beau Brummels,
Mo-Dettes,
Zapp,
Cybotron,
Nik Kershaw,
Minor Threat,
Grauzone,
Sonic Youth,
The Mighty Diamonds,
Archie Shepp,
Quando Quango,
Bizarre Inc.,
Ituana,
The Fire Engines,
Delta 5,
Curtis Mayfield,
Anthony Braxton,
Hoover,
Johnny Clarke,
Scion,
Rotary Connection,
Skaos,
The Standells,
Warren Ellis,
Negative Approach,
The Fortunes,
Au Pairs,
Althea and Donna,
New Age Steppers,
The Fuzztones,
Fear,
Sonny Sharrock,
Morten Harket,
Bang On A Can,
Brothers Johnson,
Art Ensemble Of Chicago,
Wings,
The Leaves,
Kango’s Stein Massive,
The Detroit Cobras,
Dual Sessions,
Goldenarms,
Ronnie Foster,
Marc Almond,
The Gun Club,
Eddi Front,
Pete Rock & C.L. Smooth,
Davy DMX,
Camberwell Now,
the Association,
DNA,
Scan 7,
Bad Manners,
Section 25,
Warsaw,
Television,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.