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 Mongolia and from Columbus.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Accra and Columbus.
I'm losing my edge to the art-school Woodstock 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro 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 Urselle to the crunk kids.
I played it at the Troubador.
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 Pantaleimon. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every Bootsy's Rubber Band record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a the Human League record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Davy DMX,
The Move,
Strawberry Alarm Clock,
The Cosmic Jokers,
Kayak,
Deadbeat,
Hot Snakes,
Mad Mike,
Goldenarms,
The Techniques,
Infiniti,
Vladislav Delay,
CMW,
Archie Shepp,
The Standells,
Sun City Girls,
Traffic Nightmare,
Man Parrish,
Liliput,
Massinfluence,
Ludus,
Harmonia,
X-102,
The Red Krayola,
Kool G Rap & DJ Polo,
Josef K,
Moss Icon,
Yazoo,
Isaac Hayes,
Be Bop Deluxe,
AZ,
The Moody Blues,
Black Sheep,
Pharoah Sanders,
Terrestrial Tones,
Visage,
Cheater Slicks,
Minor Threat,
Mission of Burma,
The Neon Judgement,
Wolf Eyes,
Brothers Johnson,
Sexual Harrassment,
The Chocolate Watch Band,
Shuggie Otis,
A Certain Ratio,
The Associates,
Yusef Lateef,
The Sisters of Mercy,
The Detroit Cobras,
Fifty Foot Hose,
Newcleus,
Tropical Tobacco,
Rufus Thomas,
Echo & the Bunnymen,
Slick Rick,
Pole,
Ossler,
Throbbing Gristle,
Mo-Dettes,
Man Eating Sloth,
Peter & Gordon,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.