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 Azerbaijan and from Seoul.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1960 to 1973.
I'm losing my edge.
To all the kids in Bremen and Glasgow.
I'm losing my edge to the art-school Toronto 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 1973 at the first Television practice in a loft in New York.
I was working on the snare 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 Spandau Ballet to the crunk kids.
I played it at Cafe Wha.
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 Byrd. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
The Associates,
Matthew Halsall,
The Raincoats,
Spandau Ballet,
Guru Guru,
Rhythm & Sound,
Yusef Lateef,
The Walker Brothers,
D'Angelo,
Yazoo,
Thinking Fellers Union Local 282,
Smog,
Animal Collective,
The Residents,
Sister Nancy,
Electric Light Orchestra,
Bluetip,
Neil Young & Crazy Horse,
The Invisible,
Theoretical Girls,
Magazine,
The Pop Group,
Goldenarms,
Unrelated Segments,
The Beau Brummels,
The Index,
Gabor Szabo,
Terrestrial Tones,
Neil Young,
Erykah Badu,
Youth Brigade,
Bob Dylan,
Quadrant,
Mars,
The Durutti Column,
Funky Four + One,
Kango’s Stein Massive,
Laurel Aitken,
Tears for Fears,
Selector Dub Narcotic,
Peter and Kerry,
Iggy Pop,
Lightning Bolt,
Andrew Ashong & Theo Parrish,
CMW,
Tomorrow,
Roger Hodgson,
Soul Sonic Force,
Kaleidoscope,
Man Parrish,
The Dead C,
Deadbeat,
Boz Scaggs,
Lee Hazlewood,
Dark Day,
Essential Logic,
Anakelly,
Isaac Hayes,
Terror Squad Feat. Camron,
John Holt,
The Smiths,
Scrapy,
Lafayette Afro Rock Band,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.