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 St Lucia and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Halifax and Jakarta.
I'm losing my edge to the art-school Mexico City 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 Josef K practice in a loft in Edinburgh.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Oneida to the electroclash 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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a N.O.R.E. Featuring Pharrell record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare,
Marmalade,
James White and The Blacks,
The Toasters,
Arthur Verocai,
Kauko Röyhkä ja Narttu,
Avey Tare's Slasher Flicks,
Gian Franco Pienzio,
Eric B and Rakim,
Nik Kershaw,
Ituana,
Cabaret Voltaire,
MDC,
Marshall Jefferson,
Los Fastidios,
Pet Shop Boys,
Sunsets and Hearts,
Stereo Dub,
Depeche Mode,
Lee Hazlewood,
Desert Stars,
Heavy D & The Boyz,
Joyce Sims,
Archie Shepp,
Robert Hood,
Fela Kuti,
Boogie Down Productions,
Country Teasers,
The Dirtbombs,
Throbbing Gristle,
Mad Mike,
Minutemen,
Gil Scott-Heron and Jamie xx,
The Divine Comedy,
Neil Young & Crazy Horse,
Gang Green,
Public Enemy,
The Sound,
Bronski Beat,
Glambeats Corp.,
Neil Young,
Black Pus,
Gichy Dan,
Yazoo,
The Techniques,
E-Dancer,
Ultra Naté,
Brick,
Peter Gordon & Love of Life Orchestra,
the Fania All-Stars,
Sound Behaviour,
FM Einheit,
Eurythmics,
Bad Manners,
Mary Jane Girls,
Warren Ellis,
Parry Music,
Stockholm Monsters,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.