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 Liechtenstein and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Copenhagen.
I'm losing my edge to the art-school Lyon 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 sitar 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 kango's stein massive to the dance 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 Kurtis Blow. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a ABBA record.
I hear that you and your band have sold your clarinet and bought a 808.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Simply Red,
Tim Buckley,
A Certain Ratio,
Quando Quango,
Dead Boys,
The Count Five,
Easy Going,
Boogie Down Productions,
Davy DMX,
Radiohead,
Johnny Osbourne,
the Normal,
Ituana,
Brothers Johnson,
Vainqueur,
Swell Maps,
Saccharine Trust,
Kauko Röyhkä ja Narttu,
Ossler,
Orchestral Manoeuvres in the Dark,
Ludus,
Minutemen,
Erykah Badu,
Lou Reed,
Outsiders,
Archie Shepp,
Aswad,
Camberwell Now,
The Gun Club,
R.M.O.,
Beasts of Bourbon,
Robert Hood,
Richard Hell and the Voidoids,
Grauzone,
Sarah Menescal,
Ultravox,
Black Moon,
Graham Central Station,
Sixth Finger,
Spandau Ballet,
The Detroit Cobras,
Cybotron,
The Stooges,
Chris Corsano,
Andrew Hill,
Roger Hodgson,
Johnny Clarke,
Minor Threat,
Eurythmics,
Barclay James Harvest,
Albert Ayler,
Scan 7,
The Cowsills,
Michelle Simonal,
Gil Scott-Heron & Brian Jackson,
The Five Americans,
Bang on a Can All-Stars,
Isaac Hayes,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.