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 Ireland and from Toronto.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Taipei and Mexico City.
I'm losing my edge to the art-school Lagos 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 Arab on Radar to the funk 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 Juan Atkins. All the underground hits.
All The Raincoats tracks. I heard you have a vinyl of every D'Angelo record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Arcadia record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Hasil Adkins,
Brothers Johnson,
Peter and Kerry,
The Happenings,
Lee Hazlewood,
One Last Wish,
Shuggie Otis,
Pere Ubu,
Grauzone,
The Offenders,
Moby Grape,
Gil Scott-Heron & Brian Jackson,
Sparks,
The Evens,
The Cramps,
Q65,
Oneida,
Siglo XX,
Notorious Big And Bone Thugs,
The United States of America,
Dave Gahan,
Teenage Jesus and the Jerks,
Charles Mingus,
Icehouse,
Kool G Rap & DJ Polo,
New Order,
The West Coast Pop Art Experimental Band,
Kings Of Tomorrow,
Thinking Fellers Union Local 282,
Wings,
Bobbi Humphrey,
Second Layer,
Warsaw,
Alphaville,
The Moleskins,
Scott Walker,
Joe Finger,
Make Up,
Stiv Bators,
Lyres,
Eddi Front,
Lungfish,
The Smiths,
Faust,
Bobby Sherman,
The Walker Brothers,
Cymande,
Rites of Spring,
Little Man,
The Fuzztones,
Johnny Clarke,
Spandau Ballet,
Young Marble Giants,
Electric Prunes,
Jimmy McGriff,
AZ,
Jesper Dahlback,
The Peanut Butter Conspiracy,
Warren Ellis,
Urselle,
Graham Central Station,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.