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 Portugal and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1978.
I'm losing my edge.
To all the kids in Tokyo and Seoul.
I'm losing my edge to the art-school New York 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 Wire practice in a loft in Watford.
I was working on the arpeggiator 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 Dorothy Ashby to the jazz kids.
I played it at the Crocodile.
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 Don Cherry. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
David McCallum,
Japan,
The Royal Family And The Poor,
Bauhaus,
Quantec,
Barclay James Harvest,
Gabor Szabo,
Pussy Galore,
Nas,
Shuggie Otis,
The Birthday Party,
E-Dancer,
Echo & the Bunnymen,
Delta 5,
The Sisters of Mercy,
Gil Scott-Heron & Brian Jackson,
Silicon Teens,
Laurel Aitken,
The Blues Magoos,
Prince Buster,
Spandau Ballet,
June Days,
The Offenders,
June of 44,
Grandmaster Flash,
Ultravox,
The Fortunes,
Stetsasonic,
The Divine Comedy,
In Retrospect,
The Moleskins,
Morten Harket,
Larry & the Blue Notes,
Don Cherry,
Donny Hathaway,
LL Cool J,
Throbbing Gristle,
Quadrant,
Matthew Halsall,
Hasil Adkins,
Suicide,
Minutemen,
Kayak,
Terror Squad Feat. Camron,
Hoover,
Moby Grape,
Grandmaster Flash and the Furious Five,
Arthur Verocai,
Black Moon,
Peter Gordon & Love of Life Orchestra,
Godley & Creme,
The Fire Engines,
The Grass Roots,
the Swans,
Tears for Fears,
Johnny Osbourne,
The Star Department,
Unrelated Segments,
Buzzcocks,
Slick Rick,
The Velvet Underground,
Pulsallama,
Yusef Lateef, Yusef Lateef, Yusef Lateef, Yusef Lateef.
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.