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 Cambodia and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Mumbai.
I'm losing my edge to the art-school Salvador 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 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 Adolescents to the grime 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 X-102. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines 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 '70s cut and another box set from the '90s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Babytalk,
The Detroit Cobras,
Stereo Dub,
James Chance & The Contortions,
Magazine,
The Pop Group,
Black Bananas,
Jerry Gold Smith,
Cameo,
Maurizio,
Rod Modell,
Hardrive,
Andrew Ashong & Theo Parrish,
The Men They Couldn't Hang,
Minnie Riperton,
The Litter,
8 Eyed Spy,
Avey Tare & Kría Brekkan,
The Gap Band,
Jeff Mills,
Bobby Byrd,
Lungfish,
Arthur Verocai,
The Happenings,
Motorama,
Lou Reed,
The Blues Magoos,
A Certain Ratio,
Oblivians,
Kauko Röyhkä ja Narttu,
DJ Sneak,
The Neon Judgement,
The Stooges,
Pole,
Intrusion,
Funky Four + One,
Sun Ra Arkestra,
Drive Like Jehu,
Al Stewart,
Alison Limerick,
Max Romeo,
Spandau Ballet,
a-ha,
Lower 48,
Panda Bear,
Pere Ubu,
Ultramagnetic MC's,
The Raincoats,
Echospace,
Tropical Tobacco,
Avey Tare's Slasher Flicks,
Mandrill,
World's Most,
Delta 5,
Marshall Jefferson,
Basic Channel,
Crooked Eye,
The United States of America,
Throbbing Gristle,
The Moleskins,
Roger Hodgson,
Glenn Branca, Glenn Branca, Glenn Branca, Glenn Branca.
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.