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 Liberia 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 1963 to 1978.
I'm losing my edge.
To all the kids in Lagos and Columbus.
I'm losing my edge to the art-school New York 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 808 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 June Days to the disco kids.
I played it at Trash.
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 Bobby Hutcherson. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Scratch Acid 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
The Zeros,
Section 25,
Roger Hodgson,
Donny Hathaway,
Anakelly,
Aaron Thompson,
Crooked Eye,
Chris Corsano,
Qualms,
Don Cherry,
Robert Görl,
Pierre Henry,
The Index,
DJ Style,
Supertramp,
the Association,
Monks,
LL Cool J,
The Martian,
Sad Lovers and Giants,
Super Lover Cee & Casanova Rud,
The Knickerbockers,
Fat Boys,
Swell Maps,
Ajijia Myrayebe,
Sun City Girls,
Royal Trux,
Camron Feat. Jay Z And Juelz,
the Germs,
The Fall,
John Cale,
Johnny Clarke,
Aural Exciters,
Half Japanese,
Lower 48,
Blossom Toes,
Bad Manners,
Kauko Röyhkä ja Narttu,
Rotary Connection,
Sight & Sound,
Fad Gadget,
The Tremeloes,
Icehouse,
Talk Talk,
Tears for Fears,
Nils Olav,
Schoolly D,
The Chocolate Watch Band,
Trumans Water,
Bush Tetras,
Brand Nubian,
Jandek,
Eddi Front,
Minnie Riperton,
The Standells,
Peter & Gordon,
Jimmy McGriff,
Albert Ayler,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.