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 Kenya and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Calgary and Manila.
I'm losing my edge to the art-school Lagos 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 Lou Reed 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 Pylon to the rock kids.
I played it at the Crocodile.
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 Make Up. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Radio Birdman record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
June Days,
Eric Dolphy,
The Alarm Clocks,
Connie Case,
Lower 48,
Bootsy Collins,
The Martian,
Howard Jones,
Joe Smooth,
Fat Boys,
Mark Hollis,
Big Daddy Kane,
Infiniti,
Gil Scott-Heron & Brian Jackson,
the Germs,
Bang On A Can,
Gabor Szabo,
Anakelly,
Jimmy McGriff,
Aaron Thompson,
Technova,
Derrick Morgan,
Lalann,
The Doobie Brothers,
Scion,
The Monks,
Bush Tetras,
The Gap Band,
Bobby Hutcherson,
The Dave Clark Five,
The Fortunes,
The Beau Brummels,
Lee Hazlewood,
A Certain Ratio,
Second Layer,
Eli Mardock,
China Crisis,
cv313,
Terror Squad Feat. Camron,
Eurythmics,
Lizzy Mercier Descloux,
Franke,
The Seeds,
Don Cherry,
Oppenheimer Analysis,
X-101,
Newcleus,
Roy Ayers,
Lou Reed & Metallica,
B.T. Express,
David McCallum,
The Smiths,
The Index,
Larry & the Blue Notes,
Desert Stars,
ABC,
The Searchers,
Bauhaus,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.