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 Antigua and from Shanghai.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Lille and Woodstock.
I'm losing my edge to the art-school Portland 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 Nile Rodgers 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 Byron Stingily to the funk 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 Trojans. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Peter & Gordon record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Outsiders record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Groovy Waters,
The Busters,
Joey Negro,
Robert Wyatt,
Goldenarms,
One Last Wish,
Jesper Dahlback,
Marvin Gaye,
Byron Stingily,
Slave,
Matthew Halsall,
Rhythim Is Rhythim,
Wasted Youth,
Don Cherry,
Ultravox,
Aaron Thompson,
Todd Terry,
Harry Pussy,
Kerrie Biddell,
The United States of America,
Magazine,
June Days,
Eurythmics,
Cecil Taylor,
Tears for Fears,
The Peanut Butter Conspiracy,
Franke,
Chris Corsano,
Yellowson,
Saccharine Trust,
Japan,
Angels of Light & Akron/Family,
Larry & the Blue Notes,
Jerry Gold Smith,
Sonny Sharrock,
R.M.O.,
The Raincoats,
John Foxx,
Sparks,
Sugar Minott,
Sun Ra,
The Modern Lovers,
Deepchord,
Ohio Players,
Big Daddy Kane,
cv313,
Marc Romboy vs. Booka Shade,
Soft Cell,
Grandmaster Flash and the Furious Five,
AZ,
Skaos,
Maurizio,
The Litter,
Ornette Coleman,
Visage,
Dead Boys,
Sixth Finger,
Unwound,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.