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 Zimbabwe and from Salvador.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Edmonton and Tokyo.
I'm losing my edge to the art-school Winnipeg 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 snare sounds with much patience.
I was there when Donald Fagen 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 Monolake to the disco kids.
I played it at the Troubador.
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 Evens. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every A Certain Ratio 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your guitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
The Flesh Eaters,
Laurel Aitken,
Dual Sessions,
Eve St. Jones,
Roxette,
The Blues Magoos,
Neu!,
Hardrive,
Ronan,
The Sound,
The Walker Brothers,
The Martian,
Louis and Bebe Barron,
Gian Franco Pienzio,
The Cosmic Jokers,
Eyeless In Gaza,
UT,
Brand Nubian,
Sonny Sharrock,
The Doors,
Jacob Miller,
Cymande,
Mark Hollis,
The Dead C,
kango's stein massive,
Yellowson,
Lee Hazlewood,
Peter Gordon & Love of Life Orchestra,
Isaac Hayes,
Henry Cow,
Tubeway Army,
Soul II Soul,
Masters at Work,
Ornette Coleman,
Rahsaan Roland Kirk,
Robert Görl,
The Cowsills,
Unrelated Segments,
The Young Rascals,
Moebius,
The Divine Comedy,
Japan,
Josef K,
Donald Byrd,
James Chance & The Contortions,
Barbara Tucker,
Vaughan Mason & Crew,
The Blackbyrds,
Johnny Osbourne,
Scion,
Amazonics,
Byron Stingily,
Au Pairs,
The Trojans,
Throbbing Gristle,
Dorothy Ashby,
Make Up,
The J.B.'s,
Funky Four + One,
Terry Callier,
Public Enemy,
The Smiths,
Sly & The Family Stone,
Oneida, Oneida, Oneida, Oneida.
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.