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 Papua New Guinea and from Delhi.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Bologna and Tehran.
I'm losing my edge to the art-school Bologna 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 1978 at the first Visage 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 Echo & the Bunnymen to the grime kids.
I played it at the Crocodile.
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 DNA. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Japan 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 '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
Jerry Gold Smith,
Lebanon Hanover,
Zero Boys,
Swell Maps,
Cabaret Voltaire,
Fort Wilson Riot,
Bush Tetras,
Alphaville,
The Chocolate Watch Band,
Khruangbin,
The Cramps,
Public Enemy,
Minny Pops,
Captain Beefheart & His Magic Band,
Grauzone,
Terrestrial Tones,
The Selecter,
Pere Ubu,
MC5,
Angry Samoans,
Mary Jane Girls,
Gil Scott-Heron & Brian Jackson,
Franke,
Johnny Osbourne,
Ronan,
Hasil Adkins,
Inner City,
Ralphi Rosario,
Pete Rock & C.L. Smooth,
Nils Olav,
Stockholm Monsters,
48th St. Collective,
Brothers Johnson,
David Axelrod,
Harpers Bizarre,
The United States of America,
Al Stewart,
Crispy Ambulance,
Reuben Wilson,
Black Sheep,
Bob Dylan,
Kerrie Biddell,
Dorothy Ashby,
Easy Going,
Tears for Fears,
Gil Scott Heron,
Lafayette Afro Rock Band,
X-102,
Can,
Sonny Sharrock,
ABC,
The Smiths,
Lucky Dragons,
Amazonics,
The Grass Roots,
Chrome,
Moss Icon,
Idris Muhammad,
Blake Baxter,
Sixth Finger, Sixth Finger, Sixth Finger, Sixth Finger.
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.