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 Iceland and from Portland.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 Lagos and Copenhagen.
I'm losing my edge to the art-school Beijing 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 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 Pagans to the electroclash kids.
I played it at the Hacienda.
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 The Fortunes. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Rites of Spring record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
The Golliwogs,
The Modern Lovers,
Country Teasers,
Maurizio,
Yaz,
Cabaret Voltaire,
Bluetip,
The Cowsills,
Television,
Colin Newman,
Derrick Morgan,
Bauhaus,
Charles Mingus,
Newcleus,
Urselle,
John Holt,
Massinfluence,
Barry Ungar,
Funky Four + One,
The Grass Roots,
The Shadows of Knight,
Yellowson,
Arcadia,
Rakim,
Henry Cow,
The Mighty Diamonds,
Reuben Wilson,
Moebius,
Country Joe & The Fish,
The Durutti Column,
The West Coast Pop Art Experimental Band,
Black Pus,
Neil Young & Crazy Horse,
U.S. Maple,
Talk Talk,
Bill Near,
Ultramagnetic MC's,
Half Japanese,
the Germs,
Steve Hackett,
A Certain Ratio,
The Walker Brothers,
Pagans,
Lizzy Mercier Descloux,
Heaven 17,
Gastr Del Sol,
Lungfish,
Au Pairs,
Youth Brigade,
Althea and Donna,
Harmonia,
Big Daddy Kane,
The Techniques,
Robert Görl,
Scan 7,
Janne Schatter,
Oneida,
Sarah Menescal,
Rotary Connection,
Vladislav Delay,
Rufus Thomas,
Drexciya,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.