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 Niger and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Beijing and Sao Paulo.
I'm losing my edge to the art-school Portland 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 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 Stetsasonic to the jazz 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 Fatback Band. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bang On A Can record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Womack,
The West Coast Pop Art Experimental Band,
Thompson Twins,
Althea and Donna,
The Fall,
World's Most,
Swell Maps,
Lee Hazlewood,
Stockholm Monsters,
Hoover,
Albert Ayler,
Pylon,
Goldenarms,
Marvin Gaye,
Index,
Chrome,
Dark Day,
OOIOO,
Moebius,
Audionom,
Prince Buster,
cv313,
Gian Franco Pienzio,
The Sound,
Letta Mbulu,
The Divine Comedy,
Dorothy Ashby,
LL Cool J,
T. Rex,
Altered Images,
Jeff Mills,
The Cosmic Jokers,
The Golliwogs,
Flipper,
Lakeside,
Agent Orange,
James White and The Blacks,
Ohio Players,
The Men They Couldn't Hang,
FM Einheit,
These Immortal Souls,
Black Bananas,
Talk Talk,
L. Decosne,
Popol Vuh,
The Remains,
Chris Corsano,
Selector Dub Narcotic,
Kenny Larkin,
Henry Cow,
Scott Walker + Sunn O))),
Amazonics,
Adolescents,
Wings,
Eddi Front,
Liliput,
The Selecter,
Art Ensemble Of Chicago,
Larry & the Blue Notes,
The Birthday Party,
Robert Wyatt,
New Age Steppers,
Bronski Beat,
The Stooges, The Stooges, The Stooges, The Stooges.
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.