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 Namibia and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Glasgow.
I'm losing my edge to the art-school Sao Paulo 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 güiro sounds with much patience.
I was there when Holger Czukay 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 funk kids.
I played it at the Astoria.
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 Super Lover Cee & Casanova Rud. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every Jeru the Damaja 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 '80s cut and another box set from the '90s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
the Association,
The Modern Lovers,
John Cale,
Sun Ra Arkestra,
The Names,
Black Moon,
Bluetip,
Pulsallama,
The Jesus and Mary Chain,
Connie Case,
Andrew Ashong & Theo Parrish,
Nation of Ulysses,
R.M.O.,
The Litter,
CMW,
Selector Dub Narcotic,
Steve Hackett,
Brand Nubian,
DJ Style,
Reuben Wilson,
Rufus Thomas,
Chris Corsano,
MC5,
Fatback Band,
Rosa Yemen,
Danielle Patucci,
Marc Almond,
The Monochrome Set,
Radiopuhelimet,
Goldenarms,
Cecil Taylor,
The Fire Engines,
Jimmy McGriff,
The Dave Clark Five,
Grandmaster Flash and the Furious Five,
The Toasters,
Gary Puckett & The Union Gap,
Mission of Burma,
Slick Rick,
Sad Lovers and Giants,
Manfred Mann's Earth Band,
Massinfluence,
The Star Department,
Liliput,
Motorama,
Graham Central Station,
Bobby Sherman,
Bizarre Inc.,
Fat Boys,
Stetsasonic,
June Days,
Blancmange,
Drexciya,
Jesper Dahlback,
Loose Ends,
Idris Muhammad,
Lou Reed & Metallica,
Hoover,
Black Flag,
Kayak,
the Normal, the Normal, the Normal, the Normal.
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.