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 Ireland and from Manila.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1974.
I'm losing my edge.
To all the kids in Philadelphia and Cairo.
I'm losing my edge to the art-school Tokyo 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba sounds with much patience.
I was there when Captain Beefheart 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 Vainqueur to the jazz kids.
I played it at the Spitz.
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 Eli Mardock. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Archie Shepp,
Dark Day,
Deadbeat,
The Gap Band,
The Busters,
Harmonia,
Vaughan Mason & Crew,
Joyce Sims,
The Index,
Manfred Mann's Earth Band,
the Soft Cell,
Marc Romboy vs. Booka Shade,
The Grass Roots,
The Saints,
ABC,
Unrelated Segments,
A Flock of Seagulls,
Scion,
The Monochrome Set,
Deutsch Amerikanische Freundschaft,
Graham Central Station,
Patti Smith,
Visage,
Whodini,
The Moleskins,
The Skatalites,
Gang of Four,
The Sound,
Aaron Thompson,
Gang Gang Dance,
Blossom Toes,
AZ,
Be Bop Deluxe,
Motorama,
Stockholm Monsters,
Chris & Cosey,
Skaos,
Depeche Mode,
Average White Band,
The Flesh Eaters,
Sun City Girls,
Chrome,
Don Cherry,
Youth Brigade,
Brass Construction,
Moss Icon,
the Fania All-Stars,
Organ,
Albert Ayler,
The Dirtbombs,
Sarah Menescal,
E-Dancer,
Suburban Knight,
Camberwell Now,
Boogie Down Productions,
Robert Görl,
Rotary Connection,
John Holt,
Essential Logic,
Wally Richardson,
The Durutti Column,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.