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 Accra.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1965 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Madrid.
I'm losing my edge to the art-school Taipei 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Avey Tare to the electroclash kids.
I played it at the Roxy.
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 Lower 48. All the underground hits.
All Masta Ace, Craig G, Kool G Rap, Big Daddy Kane tracks. I heard you have a vinyl of every Bizarre Inc. record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson 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?
London Community Gospel Choir,
The Offenders,
Ohio Players,
Nas,
Dawn Penn,
Louis and Bebe Barron,
Lungfish,
Bang on a Can All-Stars,
Sarah Menescal,
Bill Wells,
Underground Resistance,
Sun Ra Arkestra,
The Index,
Godley & Creme,
D'Angelo,
Beasts of Bourbon,
The Five Americans,
World's Most,
The Zeros,
Jeru the Damaja,
Circle Jerks,
Connie Case,
Thompson Twins,
Sister Nancy,
Intrusion,
The Cowsills,
Second Layer,
Babytalk,
The Martian,
Moby Grape,
Mandrill,
Todd Rundgren,
Bizarre Inc.,
Robert Wyatt,
Juan Atkins,
Hashim,
Davy DMX,
Joyce Sims,
Lightning Bolt,
Model 500,
Flash Fearless,
Thinking Fellers Union Local 282,
DeepChord presents Echospace,
It's A Beautiful Day,
Grandmaster Flash,
Sixth Finger,
Jacques Brel,
Bush Tetras,
Howard Jones,
Jeff Lynne,
Television Personalities,
Manfred Mann's Earth Band,
Tim Buckley,
Nico,
The Techniques,
Chris Corsano,
Aaron Thompson,
8 Eyed Spy,
Reagan Youth,
Glambeats Corp.,
Slick Rick,
A Flock of Seagulls,
Icehouse, Icehouse, Icehouse, Icehouse.
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.