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 South Africa and from Houston.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 Tehran and Manchester.
I'm losing my edge to the art-school Cairo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Camouflage to the funk kids.
I played it at the Astoria.
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 Super Lover Cee & Casanova Rud. All the underground hits.
All Pete Rock & C.L. Smooth tracks. I heard you have a vinyl of every Gang of Four 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
The Blackbyrds,
The Cramps,
X-101,
Motorama,
Scrapy,
Rotary Connection,
Mary Jane Girls,
Lou Christie,
Alphaville,
Young Marble Giants,
Mad Mike,
Bauhaus,
Gil Scott-Heron and Jamie xx,
Rowland S Howard / Lydia Lunch,
Al Stewart,
Maleditus Sound,
Aural Exciters,
Cal Tjader,
Johnny Osbourne,
Joey Negro,
48th St. Collective,
Unrelated Segments,
The Residents,
Ossler,
Cluster,
Lou Reed,
Basic Channel,
It's A Beautiful Day,
Gabor Szabo,
Country Teasers,
Jimmy McGriff,
Pulsallama,
Bobby Womack,
The Divine Comedy,
The Buckinghams,
Joyce Sims,
Electric Prunes,
Blossom Toes,
Saccharine Trust,
Spandau Ballet,
Can,
Lee Hazlewood,
Black Pus,
Lou Reed & Metallica,
Susan Cadogan,
Juan Atkins,
Robert Wyatt,
Malaria!,
In Retrospect,
Yazoo,
ABBA,
Organ,
Dual Sessions,
Camouflage,
Von Mondo,
The Chocolate Watch Band,
Slick Rick,
Gil Scott Heron,
Brand Nubian,
Tropical Tobacco,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.