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 Ghana and from Winnipeg.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Glasgow.
I'm losing my edge to the art-school Halifax 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 snare sounds with much patience.
I was there when Michael McDonald 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 Nick Cave & The Bad Seeds 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 Dark Day. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Shadows of Knight,
Morten Harket,
The Cosmic Jokers,
Marmalade,
Gang Starr,
Mandrill,
Chris & Cosey,
Brothers Johnson,
Index,
A Flock of Seagulls,
Andrew Hill,
Procol Harum,
Dawn Penn,
Johnny Clarke,
Sound Behaviour,
Heaven 17,
The Five Americans,
Frankie Knuckles,
Bobby Hutcherson,
Black Moon,
Laurel Aitken,
Grauzone,
Albert Ayler,
Pharaoh Sanders and the Fire Engines,
Gang Gang Dance,
Godley & Creme,
Robert Hood,
The Blues Magoos,
Japan,
The Selecter,
Alphaville,
Teenage Jesus and the Jerks,
Porter Ricks,
Youth Brigade,
Moss Icon,
Joy Division,
The Misunderstood,
Ronan,
Jesper Dahlbäck,
Aswad,
Au Pairs,
The Pretty Things,
Bobby Byrd,
Todd Rundgren,
Saccharine Trust,
Infiniti,
Drexciya,
The Peanut Butter Conspiracy,
Cabaret Voltaire,
Michelle Simonal,
Surgeon,
Harmonia,
Wally Richardson,
Scientists,
Flipper,
The Black Dice,
R.M.O.,
Dead Boys,
Flash Fearless,
Curtis Mayfield, Curtis Mayfield, Curtis Mayfield, Curtis Mayfield.
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.