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 Djibouti and from Cairo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1978.
I'm losing my edge.
To all the kids in Spokane and Lagos.
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 güiro 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 Glambeats Corp. to the jazz kids.
I played it at CBGB's.
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 Malaria!. All the underground hits.
All ABC tracks. I heard you have a vinyl of every Archie Shepp 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Pylon,
Sugar Minott,
Bang On A Can,
AZ,
Country Joe & The Fish,
Sight & Sound,
DJ Style,
The Beau Brummels,
Dorothy Ashby,
Bobby Sherman,
Sex Pistols,
Soft Machine,
Nirvana,
Derrick Morgan,
Bobby Hutcherson,
The Five Americans,
New Age Steppers,
Colin Newman,
Mars,
Crispian St. Peters,
The Gun Club,
Kings Of Tomorrow,
Cecil Taylor,
Can,
Byron Stingily,
Severed Heads,
The Fortunes,
the Soft Cell,
Avey Tare,
Sällskapet,
Thinking Fellers Union Local 282,
Robert Görl,
Moebius,
Hoover,
The Vogues,
Ash Ra Tempel,
the Germs,
Throbbing Gristle,
CMW,
Orchestral Manoeuvres in the Dark,
Easy Going,
Soul Sonic Force,
Donald Byrd,
Whodini,
Camberwell Now,
Johnny Osbourne,
The Mummies,
Gabor Szabo,
The Slackers,
The Tremeloes,
Lou Christie,
Con Funk Shun,
The Monks,
Gastr Del Sol,
Cheater Slicks,
Oneida,
John Holt,
Vladislav Delay,
Gang Starr,
D'Angelo,
Suburban Knight,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.