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 Ghana and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Houston and Sao Paulo.
I'm losing my edge to the art-school Copenhagen 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 1976 at the first Buzzcocks practice in a loft in Bolton.
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 The Offenders to the grime kids.
I played it at Cafe Wha.
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 Nation of Ulysses. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Arcadia record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Avey Tare & Kría Brekkan,
One Last Wish,
Grandmaster Flash,
Arab on Radar,
Lalann,
Technova,
Crash Course in Science,
Johnny Osbourne,
Ronnie Foster,
Chris Corsano,
Sight & Sound,
The Residents,
The Raincoats,
Soul Sonic Force,
Delta 5,
Sarah Menescal,
Pierre Henry,
Gerry Rafferty,
Lindisfarne,
The Moleskins,
Television,
Lou Christie,
The Golliwogs,
Susan Cadogan,
Quadrant,
Lungfish,
The Techniques,
Franke,
Grey Daturas,
Jandek,
Panda Bear,
Marc Almond,
Flamin' Groovies,
Little Man,
The Doobie Brothers,
The Angels of Light,
La Düsseldorf,
Bobbi Humphrey,
The Index,
Brick,
Second Layer,
Malaria!,
Public Image Ltd.,
Ten City,
The Detroit Cobras,
Spandau Ballet,
X-101,
the Human League,
Lafayette Afro Rock Band,
Liaisons Dangereuses,
Gil Scott-Heron & Brian Jackson,
Chris & Cosey,
Saccharine Trust,
the Normal,
Andrew Hill,
James Chance & The Contortions,
Röyhkä ja Rättö ja Lehtisalo,
The Zeros,
Manfred Mann's Earth Band,
Underground Resistance,
Boogie Down Productions,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.