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 Germany 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 1960 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Bologna.
I'm losing my edge to the art-school London 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 snare 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 Sticky Fingaz feat. Raekwon to the dance kids.
I played it at the 40 Watt.
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 Ornette Coleman. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every Lonnie Liston Smith record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sonny Sharrock record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jawbox,
X-101,
Magazine,
DNA,
Mars,
Moby Grape,
Section 25,
Circle Jerks,
Pantaleimon,
Mandrill,
Gang Starr,
Orchestral Manoeuvres in the Dark,
The Happenings,
The Modern Lovers,
Al Stewart,
The New Christs,
Gil Scott-Heron & Brian Jackson,
Dead Boys,
Suburban Knight,
The Tremeloes,
Little Man,
Sight & Sound,
Cluster,
The Evens,
ABC,
Avey Tare's Slasher Flicks,
Barclay James Harvest,
Cameo,
Echo & the Bunnymen,
Ultramagnetic MC's,
Wasted Youth,
Art Ensemble Of Chicago,
Grandmaster Flash and the Furious Five,
Chris & Cosey,
The Five Americans,
Kool G Rap & DJ Polo,
UT,
Peter and Kerry,
Motorama,
Ultravox,
Pet Shop Boys,
Eric B and Rakim,
Zero Boys,
Todd Rundgren,
The Count Five,
Interpol,
Black Bananas,
Gang Green,
Chrome,
Chris Corsano,
Electric Light Orchestra,
Patti Smith,
Throbbing Gristle,
Mission of Burma,
Ultimate Spinach,
Eli Mardock,
Lower 48,
Vaughan Mason & Crew,
Henry Cow,
Lalann,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.