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 Kiribati and from Halifax.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Salvador and Woodstock.
I'm losing my edge to the art-school Johannesburg 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 marimba 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 Siglo XX to the techno 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 The Skatalites. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Fad Gadget 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 '70s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
Kenny Larkin,
Susan Cadogan,
Harmonia,
Gian Franco Pienzio,
Hoover,
Jawbox,
The Remains,
Oblivians,
Patti Smith,
The Modern Lovers,
Pharaoh Sanders and the Fire Engines,
The Doors,
Terry Callier,
Kaleidoscope,
Cabaret Voltaire,
Popol Vuh,
Gang of Four,
Donald Byrd,
Donny Hathaway,
The Real Kids,
Gabor Szabo,
EPMD,
The Neon Judgement,
The Gap Band,
Ronan,
Amon Düül II,
Sixth Finger,
Outsiders,
Ice-T,
In Retrospect,
Ossler,
Hasil Adkins,
Rhythm & Sound,
Max Romeo,
T. Rex,
Yellowson,
Eric B and Rakim,
Cluster,
Lizzy Mercier Descloux,
Liliput,
Von Mondo,
Camron Feat. Jay Z And Juelz,
Howard Jones,
Lee Hazlewood,
Subhumans,
Interpol,
Bush Tetras,
Con Funk Shun,
Terrestrial Tones,
Scion,
Bobbi Humphrey,
Brick,
Unwound,
Quadrant,
The Smiths,
The West Coast Pop Art Experimental Band,
The Peanut Butter Conspiracy,
Kas Product,
Jacques Brel,
the Normal,
Red Lorry Yellow Lorry,
Joe Smooth,
The Barracudas,
Black Flag, Black Flag, Black Flag, Black Flag.
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.