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 Portugal and from Taipei.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Salvador and Shanghai.
I'm losing my edge to the art-school Tehran 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 theremin 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 Television Personalities to the jazz 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 The Standells. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every Aswad 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 '80s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Saccharine Trust,
Spandau Ballet,
Roy Ayers Ubiquity,
The Sound,
Sparks,
Vladislav Delay,
The Gun Club,
Aaron Thompson,
Main Source,
Pantytec,
Icehouse,
Royal Trux,
Eric B and Rakim,
In Retrospect,
Silicon Teens,
Clear Light,
The Standells,
Yusef Lateef,
Goldenarms,
Niagra,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Monochrome Set,
Cal Tjader,
Rotary Connection,
Ultra Naté,
Inner City,
The Gories,
LL Cool J,
The Smoke,
The Skatalites,
Ronnie Foster,
Zapp,
The Shadows of Knight,
Crispian St. Peters,
Gil Scott-Heron & Brian Jackson,
Pagans,
Echospace,
The Durutti Column,
Pere Ubu,
Angry Samoans,
Eden Ahbez,
The Zeros,
Gang Starr,
DeepChord presents Echospace,
Robert Wyatt,
Swans,
Kool G Rap & DJ Polo,
Ten City,
Heaven 17,
Essential Logic,
Swell Maps,
La Düsseldorf,
Maleditus Sound,
Dual Sessions,
Dark Day,
Bang On A Can,
Banda Bassotti,
The Fugs,
Eyeless In Gaza,
K-Klass,
June Days,
Crash Course in Science,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.