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 Dominican Republic and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1977.
I'm losing my edge.
To all the kids in Bologna and Manila.
I'm losing my edge to the art-school Manila 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 clarinet 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 X-101 to the rap kids.
I played it at the Hacienda.
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 JFA. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Rhythim Is Rhythim record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Black Bananas record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Gil Scott Heron,
Susan Cadogan,
CMW,
Whodini,
Icehouse,
In Retrospect,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pharaoh Sanders and the Fire Engines,
The Associates,
Brick,
Radiohead,
The Trojans,
Be Bop Deluxe,
Little Man,
Gong,
Tubeway Army,
Circle Jerks,
L. Decosne,
FM Einheit,
Frankie Knuckles,
Ludus,
Ultimate Spinach,
Red Lorry Yellow Lorry,
Morten Harket,
The Searchers,
Tommy Roe,
Boogie Down Productions,
Dorothy Ashby,
Mars,
Alison Limerick,
The Doors,
Jacob Miller,
Underground Resistance,
Scrapy,
Gil Scott-Heron and Jamie xx,
Charles Mingus,
Man Parrish,
Funky Four + One,
Nirvana,
Kings Of Tomorrow,
Das Ding,
Agitation Free,
Rhythim Is Rhythim,
Procol Harum,
Robert Hood,
Arthur Verocai,
These Immortal Souls,
Ken Boothe,
Kaleidoscope,
The Mighty Diamonds,
June of 44,
Strawberry Alarm Clock,
Johnny Clarke,
Skriet,
Reagan Youth,
Magazine,
Surgeon,
DNA,
Brass Construction,
Bootsy's Rubber Band,
Notorious Big And Bone Thugs,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.