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 Grenada and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1978.
I'm losing my edge.
To all the kids in Calgary and Paris.
I'm losing my edge to the art-school Lyon 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 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 Wolf Eyes to the dance 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 Letta Mbulu. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Khruangbin 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 '80s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Lou Reed & Metallica,
Public Image Ltd.,
Colin Newman,
Q and Not U,
Kango’s Stein Massive,
Interpol,
Ultra Naté,
Deutsch Amerikanische Freundschaft,
Peter Gordon & Love of Life Orchestra,
Cal Tjader,
LL Cool J,
The Count Five,
Big Daddy Kane,
The Misunderstood,
Sad Lovers and Giants,
Rahsaan Roland Kirk,
Strawberry Alarm Clock,
Alton Ellis,
The Men They Couldn't Hang,
The New Christs,
Brand Nubian,
Aswad,
Joyce Sims,
Erykah Badu,
Charles Mingus,
Depeche Mode,
Heaven 17,
The Searchers,
Basic Channel,
Terrestrial Tones,
The Kinks,
Magazine,
The Move,
Minnie Riperton,
Banda Bassotti,
Rod Modell,
Lou Reed,
Lou Christie,
The Doobie Brothers,
Curtis Mayfield,
Isaac Hayes,
Angels of Light & Akron/Family,
The Moleskins,
Inner City,
Cecil Taylor,
Qualms,
Spandau Ballet,
Matthew Bourne,
The Fire Engines,
Television,
Pole,
Von Mondo,
Sun Ra,
Kerrie Biddell,
Roy Ayers Ubiquity,
UT,
The Beau Brummels,
Subhumans,
DJ Style,
The Moody Blues,
The Angels of Light,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.