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 Tuvalu and from Cairo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Lyon and Glasgow.
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 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 Mandrill to the electroclash kids.
I played it at the Astoria.
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 Schoolly D. All the underground hits.
All Yazoo tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
The Young Rascals,
Harpers Bizarre,
The Sound,
Circle Jerks,
Jimmy McGriff,
Byron Stingily,
Fear,
Fluxion,
David Bowie,
Can,
Pagans,
Pet Shop Boys,
Cecil Taylor,
Ronan,
Pere Ubu,
Panda Bear,
The Raincoats,
Clear Light,
Amon Düül II,
Lucky Dragons,
Althea and Donna,
The Men They Couldn't Hang,
Tommy Roe,
Newcleus,
Kerrie Biddell,
Barry Ungar,
Ajijia Myrayebe,
Absolute Body Control,
The Gladiators,
Ice-T,
Arthur Verocai,
Arab on Radar,
Camouflage,
The Detroit Cobras,
Vladislav Delay,
The Monochrome Set,
Gang Starr,
Crooked Eye,
Masters at Work,
Loose Ends,
Deadbeat,
Ohio Players,
Glenn Branca,
Gong,
Malaria!,
Howard Jones,
A Flock of Seagulls,
The Dave Clark Five,
Hasil Adkins,
Pulsallama,
Lee Hazlewood,
Cal Tjader,
U.S. Maple,
Los Fastidios,
Gang Gang Dance,
Joe Finger,
Goldenarms,
Crispian St. Peters,
Todd Rundgren,
Mark Hollis,
Ken Boothe,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.