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 Japan and from Philadelphia.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1970.
I'm losing my edge.
To all the kids in Delhi and Woodstock.
I'm losing my edge to the art-school Calgary 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 1973 at the first Television practice in a loft in New York.
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 The Detroit Cobras to the techno 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 Arcadia. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Neil Young,
Supertramp,
Derrick May,
The Gap Band,
MC5,
The Searchers,
The Moleskins,
Jawbox,
Jacques Brel,
T.S.O.L.,
Bobby Sherman,
Danielle Patucci,
Skaos,
The Divine Comedy,
Oneida,
The Grass Roots,
The Gun Club,
The Five Americans,
Archie Shepp,
Clear Light,
Drexciya,
OOIOO,
Marine Girls,
the Association,
Delon & Dalcan,
Wally Richardson,
Slave,
Pussy Galore,
The Alarm Clocks,
48th St. Collective,
Television,
Nick Fraelich,
Henry Cow,
H. Thieme,
Crime,
the Human League,
Fort Wilson Riot,
Little Man,
The Angels of Light,
Louis and Bebe Barron,
James White and The Blacks,
Flamin' Groovies,
PIL,
Robert Görl,
Big Daddy Kane,
Minor Threat,
The Monks,
Pylon,
Max Romeo,
Kool Moe Dee,
Pagans,
Delta 5,
Dead Boys,
Fela Kuti,
Sunsets and Hearts,
Thompson Twins,
The Fuzztones,
Andrew Hill,
David McCallum,
Cabaret Voltaire,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.